According to the epitaph of the wise and foolish, the virtuous and foolish family has always been a scholar. Uncle Xianyu was irrigated by his grandmother's Mo Bao when he was young, and then asked Zhang Tianci, a calligrapher in the Jin Dynasty. Liu Zhishu, a scholar in the Yuan Dynasty, described his calligraphy experience in this way: "It is the experience of Hunan Xiansi to learn the book that is difficult to be fresh (the title of Mountain Man who is difficult to be fresh), and then learn Auden Zhu Xuan and Yao Xuezhai. Li See Beihai's "Yuelu Temple Monument" is worthwhile. I went to Jiangsu and Zhejiang to visit Prince Zhao Ang, and my book was greatly improved, and I was famous in the world, ranking first among grasses. " While seeking benefits and contacts with Shi Yan, Xian Yushu, accompanied by Tang and Song Dynasties, traced back to Wei and Jin Dynasties, said that "deliberately learning ancient books will make the pool dark" (Zhao Mengfu's poem). He has many famous posts, especially Yan Zhenqing's "Sacrificing a Nephew", which is called "the second running script in the world and the first calligraphy in my family". Books such as Baodi in Shiqu and Daguanlu recorded his copying of seventeen posts by Wang Xizhi, goose posts by Wang Xianzhi, deer breast posts by Yan Zhenqing and autobiography posts by Huai Su. Many law posts also have his wonderful inscriptions, such as "There is a Zhong Wang among calligraphers and a Kong Zhou among Confucianism. Today's scholars export' two kings', not to mention bells, but also called Confucius and Mencius, not Duke Zhou". According to Feng Fang's book Tactics in Ming Dynasty, Zhong You is the new method. At the same time, he is also good at learning from nature. According to records, he "learned books in his early years and failed to be like the ancients." I accidentally saw two people holding a car in the mud and realized the brushwork ... "This is the same as Zhang's sword dance and Huang Tingjian's understanding of brushwork.
Fairy jade books are straightforward, and calligrapher Chen Yi once said, "Today's fairy jade books are good at hanging wrist books. When I asked him, I raised my eyes and said,' Dare! Dare! "Dare!" "This extraordinary personality that despises the secular world is especially manifested in the creation of lines and grass-unrestrained and free and easy. Zhao Mengfu emphasized this very much. He once said: "Yu He (Qingxin Shuzi) wrote cursive script, went too far, tried his best to pursue it, but failed ..."
Among the fresh ink paintings, Su Shi's Poem of Begonia is one of his masterpieces. This line of cursive paper is 34.5 cm long and 584 cm wide. It is the book catalogue of Su Shi's Seven Words of Ode to Begonia, which has been inscribed and collected by many calligraphers since the Yuan and Ming Dynasties. "The Postscript of Gui" said, "Fresh is better than Weng cursive script to cultivate six meanings" (author's note: "Six arts" refers to Yi, Shu, Shi, Li, Yue, Spring and Autumn Period and Six Classics), and there is no mistake. Everyone knows that it is vigorous, but they don't know that it is prepared for the six meanings. "Ming Dong Qichang said," Mr. Gai Dongpo has written "Poems of Begonia" for many times, no less than ten. Ji Bo should do his best if he wants to attach poems of sages to books. "
This volume is written by fresh Yu Shu with extremely elastic bristles, mainly in running script and cursive script. As Xiu Yuan, a poet in Yuan Dynasty, said, "He is good at returning to the wrist, so the book is round and full of energy, or he can use the Tang method more." Ruan Yuan, a native, is known as Uncle Xian Yu, and his calligraphy is lively and vigorous, between Sun and Sun. Looking closely at this volume, there are many similarities with Yan's "Sacrificing a Nephew", "Liu Zhongshi" and "Contending for a Seat", and the brushwork is vertical and horizontal and varied. The whole article is about 200 words, which are "go all out" and "don't give up". Judging from the pen power, the front gathers ink and is round and powerful. The beginning, end and turning point of each stroke are leisurely, but changeable. For example, gathering ink into "points" includes punctuality, sidedness, picking points and even potential points. , big or small, light or heavy, properly structured and integrated. Various word-formation elements such as horizontal, vertical, left and right can be beautifully formed, such as "one", "recommendation", "China" and "dragon". Although there are many horizontal paintings, "no Qi Fei" follows the trend. The vertical paintings in the words "pen", "grass", "Hua", "dizzy" and "zhong" are mostly hanging needles, which are vigorous and powerful ... The structure is slightly upward, broad and generous, and the longitudinal convergence is moderate; The change law of weeds in the middle of the running script adds more lively interest. The composition of this scroll is almost flush from top to bottom, with even row spacing, no stimulation and natural fluency. The connection between words is connected by "tying lines", and more is to freely echo up and down and give in to each other in the pen gesture. Looking at the whole volume, as Mr. Liu said: "The words are rigorous and vertical, the points, lines and surfaces are refreshing and three-dimensional, the spirit is heroic, and the rules are in and out. He showed his pursuit and creation of the formal beauty of calligraphy with profound skill, which also showed his temperament and personality. "
Although the peers praised Shu as "all the pens and pens have ancient laws, which are the most valuable" (in Zhao Mengfu), they rejected the Song people because of their adherence to the Tang laws. "Calligraphy from Hook" criticizes: "Yuan people, except Zhao Wuxing (), are fresh, extremely round and healthy, and cannot be vulgar." Fang Xunzhi of the Ming Dynasty also pointed out that he was "plump and short of rhyme". The reason why the Yuan Dynasty book circle, with the tradition of "returning" as the mainstream, is "lonely" in the history of books is that there are many inheritances and few innovations. The freshness of Shu is the main reason why his calligraphy has been criticized by later generations.
Xian Yushu's calligraphy is "a person who worked hard, but few people knew it when he was young" (originally written by Yuan poet Deng). In his later years, he even closed the door and thanked guests, staying in the world and taking pleasure in tuning the piano and writing books. 1989, the tomb of Xianyu Shu was discovered in Hangzhou. The funerary objects included seals, inkstones and pen-end ornaments that Xianyu had fiddled with before his death. People who are sleepy in learning books.