After avoiding Wenzhou, Zhao took time to read On Wu An, and was deeply impressed by Bao's theory. In Zhang An's essays, we can see his love for the ancient carvings of the Six Dynasties: "The beauty of the ancient carvings of the Six Dynasties lies in their endurance. If you meet it suddenly, you will feel frightened, but smart people will listen. After staring for a long time, I saw a wave falling together, all of which fell from the sky and could not be easily moved. Be sure to write down the scale, and you will know that there is no place to start. I have never read the hardships here, and I am even more puzzled. " Another cloud said, "Wu An Bao Shenbo said that he had seen the rubbings of Painting Praise and Luo Shen Fu by Mr. Dongfang in the Southern Tang Dynasty, both of which belonged to Han Li. But the book of the two kings handed down in modern times can be known. Re-emphasizing that the two kings began with Emperor Taizong. Today, the tablet of Emperor Taizong's imperial book exists, and there is no difference in printing the books of the two kings in the world. It is said that Tang Taizong's book is the book of two kings. You know, on that day, Emperor Taizong emphasized the two kings, and the ministers Dai Taizong and Mo Le became a banquet. Therefore, calligraphers who have been regarded as ancestors for hundreds of years first lost their true colors. Then 80 million eyes were narrowed by this dust, which is very regrettable. If you dare not export this theory for thousands of years, tell me about it. Ruan Wenda said that books are mainly from the Tang dynasty, and the books of the two kings are not expensive, which is different from the rest. "It is not satisfied with this book, nor with the two kings. As a result, he began a turning point in learning calligraphy and gradually parted ways with the two kings system. After he went to Beijing, he got together with Shen, Hu Gambo, Wei and others. They are all addicted to epigraphy. At that time, he was editing the Record of Visiting Monuments around the World and collected a large number of ancient prints, especially the Zheng Wengong Monument, which was his favorite. About 35 years old, I wandered back and forth in Liulichang every day for the rest of my life, enjoying the wonders and doubts, morning and evening.
Zhao gradually gave up Yan calligraphy completely and turned to Northern Wei calligraphy. At the age of 36, he wrote regular script poems 12 volumes for Qi Jiwen, which can be said to be a classic in his early days of studying books in the Northern Wei Dynasty. Zhao still retains his elegant style of writing. In just one year, his writing style has undergone a qualitative change, which is unimaginable to ordinary people. From then on, he abandoned Yan to Wei and achieved success in the deep valley. At the age of 37, he wrote to Hu Peixi (Ji Zi) and said, "My brother has been reading Art Boat and Tank for five years, and the more he thinks about it, the worse it gets. Since I came here and saw the inscription written by Zheng Xibo, I realized the front of the volume. Seeing Zhang's book, I realized this turning point. I didn't realize my frustration until I saw 100 kinds of authentic mountaineers. However, I still don't understand the word "Yue Long Tiger Lying" and Yan (a famous soldier of the Han army and one of Bao's disciples). Observing his words is a way to understand various methods. Yan has been studying for 30 years, and its formula is very secret. Although my brother stole it, he suspected it was sudden. However, at present, there is not much room left for others. At this time, the book is behind the pavilion, and my brother and others are helpless. I might as well go my own way. " Yi Zhou Shuang Tan is the guiding theory of Zhao Youyan's turning to the north. Zheng Daozhao's stone carving made him realize the method of "fronting". Zhang's calligraphy (Mingqi, 1764 ~ 1833) broadened Zhao's horizons and made him realize that Zhen's and Li's calligraphy are interlinked. However, Deng's calligraphy made him realize the ups and downs of brushwork. In addition, Zhao especially praised Zhang Qi (1780 ~? Years), thinking that "there is no calligrapher in the DPRK, Ms. yang hu and Zhang Wanchuan, whose name is Lun Ying, followed by Zheng Yibo". Zhang Lun is good at North Monument, taking Zheng Daozhao as the method. Comparing Zhao's works, we can clearly see her influence on Zhao.
However, Zhao's books after the age of 35, and even books around the age of 40, although initially formed in style, lack pen power, and some of them are reluctant. As he said in his letter to Wei: "At this time, my brother realized that his book was very ill and said: The beginning and the end are not clean. (No one knows this. Or brothers criticize more, please advise. If this disease is removed, its beauty lies in those who can't be reached by Deng and Bao Jun, and those who don't know at home. " This five-character disease of "unclean beginning and end" is more obvious in running scripts. Gradually solve after 40 years old. To be exact, it was perfected before and after going to Jiangxi to take office-about 44 years old, and finally completed after 50 years old, reaching the realm of "people and books are old", comparable to the masters of the Northern and Southern Dynasties. As it says: "There was this person before the Han and Sui Dynasties", I believe it!
Dating back to the Qin and Han Dynasties, the atmosphere was open and the official seal was integrated.
Zhao's seal cutting originated from Deng He and was influenced by his colleague Hu Shu. At that time, seal cutting was printed with small seal. Ye Zhao knew this and was only good at Xiao Zhuan. There are very few works of Da Zhuan, and only one flag can be seen, which is not enough. Deng was the first person to seal script in Qing dynasty, which was the conclusion of Zhao era. Other masters of seal script, such as Wang Shu, Hong,, and so on. , all attach importance to the jade rib seal, lack of change, does not conform to Zhao's personality, so it is not valued by Zhao. After Deng,,, and spread their seal cutting methods. Colleague and good friend Hu Shu has expertise in this field. At the age of 54, when Zhao was a disciple of Qian Shilin, he wrote: "When the Northern Wei Dynasty carved stones, the mountains were lost, but now Zheng Wenbao's carving is terrible. The historical record of making paper money before is not too bad. Deng's stubborn character is the first in my seal script, while my friends Wu Xizai of Yangzhou and Hu of Jixi are the second. Xi Zai is old, but he has just fallen into Hang Cheng, and his life and death are unknown. I'm still alive, and I dare not write seal script. I don't know where to go today. Qian Sheng's second visit to the seal cutting method cannot but show what he knows, that is, to explain the mountain prose with the book of the law, which is less than the history of wenbao banknotes. " There are all kinds of information, the most fundamental of which is to learn from Deng. However, the biggest difference between Zhao and Zhao is that they don't stick to the rules, learn from Deng instead of sticking to the rules, and turn people into their own use. He evaluated Deng, talent four, manpower six; And Bao Tian three people seven; Wu Rangzhi is one person for nine days; I'm seven and three. Talent is superior to others. Therefore, he also refuses to accept Deng from the bottom of his heart. He thinks that Deng and Baojun can't achieve anything except the "dirty beginning and end" disease through hard work.
At the age of 34, Zhao came to the work of Yishan Inscription and Zhuan Shu. The structure is between Deng and Hu Shu, and the brushwork is still lacking. Middle-aged is the Year of the Crane, and the seal script in the two-body round fan such as "Monument to the Town God Temple" by Li has beautified the structure to the extreme, which is innovative besides Deng, Hu Shu. And this novelty mainly lies in the beauty of "structure". For Zhao, official script is an incidental writing in a sense. He once said, "Only by learning to seal script can you become an official script." Zhengshu-The most diligent and proud writer in the Northern Wei Dynasty was Zhao, who advocated that "Zhengshu can only be written", and Zhuanli paved the way for the study of Zhengshu. Of course, this is just a statement, but in fact, Zhao's seal script has been as mentioned above, and official script has its own system.
Zhao dabbled in official script extensively, and his study of official script can be seen from his handed down works. His collection of books includes: Shimen Ode, Fan Min Monument, Sangong Shen Shan Monument, Liu Xiong Monument, Fenglongshan Monument, Wurong Monument, Weiyuanping Monument, Chengyang Lingtai Monument, etc. From the age of 35 to 50, there are people facing the Han monument in the works. After I entered Beijing at the age of 35, I searched extensively for tablets. He made a detailed textual research on the Xiong Liu Monument collected by Shen, and took Tianyi Pavilion Song Tuoben and Weng Fanggang's "Eighteen Years in Qiu Jiang" as the base copies, collated them one by one and made comments. Don't engage in the double hook method, copy a lot of Chinese inscriptions. Among them, there are ten kinds of Han steles with double hooks, all of which are rare stone inscriptions. At the age of 45, Li Wentian copied the 96-word copy of the tablet of Xiyue Huashan Temple, which was the "old double-hook copy". It is known that he had hooked the tablet of Xiyue Huashan Temple in his early years. At the age of 35, he wrote an inscription: "The double hook can't be used. I hope that the word will stay with me and come back for generations to come." Therefore, Zhao is diligent in official script!
Zhao Chu studied in Deng, and then returned to Hanbei. With Zhao's personality, he is not rigidly attached to one law, let alone a certain family or even a certain monument, so he studied and eventually became his own spokesperson. You can see his early works around the age of 35, which are immature or look like the ancients. Wei Youtang (40 years old), Siping of Zhanghengling County (40 years old) and Siping of Longshan Monument in Zhailindui (4 1 year old) of middle-aged seven-character couplets have entered the rooms of Han people, but their calligraphy still carries Deng's legacy. Old age is like a book, like a seal script, calm and old, simple and simple. The writing rules are between seal script and official script, with the center as the main part and the edge as the second. The strokes are round and square, combined with Fiona Fang. The knot is flat, tight outside and loose inside, wide and natural. In the process of leveling, the trend of slightly leaning to the right is odd and positive.
Zhao's works are the most numerous and widely circulated. The works before the age of 35 are full of lines and are modest. If you look closely at them, they are similar, gentle, vigorous and free and easy. At the age of 35, he wrote a running script for his late master in April: "It's good to dream infatuated, and it's fun to go through hardships." Still saving face, a month later, he wrote a running script for Zichun: "Spring clouds are cloudy, the window is suspicious; Insufficient nap, the fairy is in the pillow. " It began to alienate Yan Feng. When Wei added a four-character seal script in October, the shape changed from rectangular to flat. Although the strokes were not completely divorced from Yan Feng, they changed from quantitative to qualitative. After 36, this kind of calligraphy will never be done again. Around the age of 37, it is far-fetched to try to write running script with Beibei method. During this period, it can be clearly seen that the turning point is unnatural and the writing ability is weak. As we all know, Zhao's popular books were original and unprecedented in the Northern Wei Dynasty. Deng pioneered the writing style of the Northern Wei Dynasty, but his cursive style was not centered on the pen, but wrapped the pen with the front of the roll. Bao, too, the font did not break away from the style of the Tang Dynasty. Only Zhao began to apply the brushwork of the Northern Wei Dynasty directly to the running script. Therefore, it has no "reference" left by predecessors, and it is also difficult to be coherent, because of the unique writing method of the Northern Wei Dynasty book: the front and side are transformed into the center. In this respect, Zhao first solved it in the lower case of Manuscript, or solved it in lower case. Around the age of 40, calligraphy is naturally sophisticated and completely blunt. Although the brushwork is not strong enough, it is not smooth. In a sense, the complete maturity of his running script works is later than official script, seal script and official script, and it is finally formed. After the age of 45, my heart and hands are smooth, and I can do whatever I want, so I am naturally driven out of my pen and write freely. Zhao Ceng claimed: "I have never learned running script, only cursive." . In fact, Zhao's running script accounts for 89% of his later works, which is the focus of his works. Only in the world, Zhao is regarded as the official book of the Northern Wei Dynasty, and other books are ignored, so that the popular books of the Northern Wei Dynasty are regarded as "Zhao's book of the Northern Wei Dynasty", and no distinction is made. A successful calligrapher must have written his own book, ending with a running script. Wang Xizhi, Yan Zhenqing, Su Dongpo, Zhao Mengfu, Dong Qichang and so on. Modern calligraphy, hanging on the wall to enjoy, pays more attention to running script works. Although Zhaobei tablet is famous, the running script is still the most popular. This is probably what the world requires of calligraphers.
If a person's book style and various books can finally be unified, it will have a unique style. After 50, Zhao, especially his works in his later years, has reached the realm of "everyone is old and books are old". It is a pity that Zhao Yisheng seldom writes cursive script. From the middle-aged cursive script "Preface to the Holy Teaching of Women's Cursive Script Collection", there is elegance in elegance, all from the brushwork of the Northern Wei Dynasty.