Taking Du Fu, a master of Tang poetry, as the research object, Huang Tingjian constructed and put forward poetic theories such as "turning iron into gold" and "taking fetus as bone", which became the theoretical program and creative principle of Jiangxi poetry school and had a far-reaching influence on later literary creation. As one of the great poets in Song Dynasty, Huang Tingjian's influence on Song poetry even surpassed that of Su Shi, a great writer. Su Shi's poems are full of vitality, vertical in conception, wide in opening and closing, unpredictable, complex in structure and untraceable. Therefore, although Su Shi's achievements were high, there were few teachers and he failed to form a genre. Huang Tingjian's creative ideas are traceable, eloquent and studious, so he has many followers. Huang Tingjian's poems, with rigorous statutes and meticulous reasoning, represent the characteristics of the Song Dynasty. It can be said that Huang Tingjian's poems are the most artistic in the Song Dynasty. Influenced by Huang Tingjian, Jiangxi Poetry School also influenced the poetic style of the Southern Song Dynasty, which had a far-reaching impact on later generations. When Su Shi was a squire, he once recommended Huang Tingjian to replace himself. In the recommendation, there are "magnificent articles, wonderful in the world; The sentence "filial piety, catching up with the ancients" shows the importance of recommendation.
Huang Tingjian pays attention to words in his poems. Use the word "every word has a place". At that time, people commented on Huang Tingjian's poems, "Every word must be refined in the month, and it has not been lightly issued." Huang Tingjian also put forward the "eye in the sentence" of poetry. The so-called "eye in a sentence" is what later generations call "eye in a poem", which means paying attention to the tempering of key words. For example, the word "green" in Spring Breeze and Green Jiang Nanan is tempered, which can be described as "turning a word like a key to closing a door". Second, pay attention to grammar. Huang Tingjian's poem "Send Gu Zidun to Hedong": "The syntax is unknown, and the autumn moon is from Chengjiang". What is "syntax"? As can be seen from this poem, Huang Tingjian's exposition of poetry syntax is relatively simple, such as clear and sensible autumn moon. In "Two Letters with Wang", he said: "After arriving in Kuizhou, if you are familiar with his ancient poems, you will find that their syntax is concise and ingenious. This is a plain with high mountains and deep water. It seems unattainable, the article is successful, and there is no axe tooth. It's a good ear. " The third is to pay attention to the rules. Huang Tingjian has a lot to say about the meaning of composition, such as: "To be a Chu Ci, to catch up with the ancients, we must be familiar with Chu Ci, observe the twists and turns of the ancients, and then write it. For example, if a clever woman embroiders me, if she wants to embroider, there must be a brocade machine that can embroider. " The structure of composition is compared to a "brocade machine". Another example is "the things in the valley must be carefully arranged." Every time I see the post-school, I often tell you that the original road is tortuous. " Another example is: "Writing poems is like writing zaju. It was arranged at the beginning, and it was necessary to fight when it came. " Taken together, Huang Tingjian's so-called composition emphasizes the tortuous changes in the structure of poetry, which was conceived by studying the works of predecessors. Although Huang Tingjian talked about the poetic method, he did not stick to it, but wanted to go beyond it and reach the realm of "self-harmony without worrying about breaking the rope". Semi-cursive/running/calligraphy (China's calligraphy)
Huang Tingjian is good at running script and cursive script, and regular script is also his own. Learning books especially admire Wang Xizhi's Preface to the Lanting Pavilion. There is a poem praising Yang Ningshi, which can explain his profound experience in studying the Preface to Lanting: "The world tries its best to learn Lanting noodles, and wants to change every bone instead of elixir. Who knows that Yang Fengzi of Luoyang went to Wu Si Bar when he was writing. " This is inseparable from his profound understanding of Wang Xizhi's calligraphy learning.
When Huang Tingjian traced back to the Jin and Tang Dynasties and studied the classic calligraphy of his predecessors, Su Shi had the greatest influence on him. It can be said that Huang Tingjian's calligraphy was largely imitated by Su Shi. Huang Tingjian, as one of the "Four Scholars of Su School", cannot but be influenced by Su Shi's calligraphy style. In Huang Tingjian's book theory, there are many comments on Dongpo's books, and most of them are admired. Su Dongpo is not only a teacher and promoter of Huang Tingjian's literature, but also a model of his calligraphy. Huang Tingjian's inscription reflects some news that Huang Tingjian learned calligraphy from Su Shi, such as "learning from Dongpo Yan Pingyuan". However, if you are all thumbs, you will never find a job. " Another example is "Dongpo's post is very similar to the inscription on Princess Yu Shinan's tomb. It is my nature to comment on Dongpo's good books. When I went to Dongpo, I saw two capsules of Shouze, including several pieces of paper like Liu Gongquan and Chu Suiliang, which were definitely better than Xu Hao's calligraphy. I also tasted a roll of Lu Gong's post to Yu Lin, and all 20 pieces of paper got six or seven, which was almost beyond my knowledge. " Huang Tingjian and Su Shi are eight years apart. Between two friends, a teacher and a friend. Judging from Huang Tingjian's handwriting, it is obvious that his calligraphy is characterized by sharp pen opening, flat and wide shape, and an upward trend to the right. It is even exaggerated and emphasized, but it is not as familiar as Sue. Huang Tingjian took the book of Zen Enlightenment as the interaction with Su Shi. For example, Su Shi's "Pray for Rain" is very similar to Huang Tingjian's, especially the numbers at the end are calm and elegant, and the pen is slow to fade, almost like Huang Tingjian's ghostwriting.
The formation of Huang Tingjian's Chinese calligraphy style is due to his self-discipline after seeing the cliff "righteousness and brightness" in Jingkou. There is a misunderstanding in Huang Tingjian's "Tuoheming", that is, he took "Tuoheming" as a book written by the right army and believed it, so he tried his best to figure out the teacher's knowledge. But it was also a mistake, which promoted the formation of Huang Tingjian's long gun and short gun style. Objectively speaking, Huang Tingjian and Su Dongpo are calligraphers who surpassed the cover of the calligraphy style of the Tang Dynasty 800 years earlier than that of the Qing Dynasty in the history of calligraphy in China, and traced back to the inscriptions before the Tang Dynasty or merged into one. As far as the origin of Su Shi's calligraphy style is concerned, a clear answer can be obtained by comparing his masterpiece "Cold Food Poetry" with Luoyang's "Longmen Twenty Products". Huang Tingjian clearly flaunted the model of "righteousness and clarity".
cursive script
Huang Tingjian's cursive script is Zhou Yue's. Su Shi regarded Zhou as "dangerous and inferior" and Mi Fei regarded Zhou as "vigorous and fierce". Later, Huang Tingjian expressed his views on Zhou Yue's calligraphy after his calligraphy and calligraphy thoughts matured in Shu Tan: "Wang's Lanting, Le Yi Lun, Bu Yong's Zen master and Wednesday's Qian Wen are all wonderful, and at the same time they are good at using pens. Thousands of books in the chest, not following the crowd, the book is not sick, wins Li Xitai, wins Lin Hejing. Wang Zhu, Gai Meiren, is sick; Strong people are sick, Zhou Yue-all the crimes of squatting, and non-scholars are ineffective. "
Undoubtedly, Huang Tingjian's profound understanding and mastery of cursive brushwork should be regarded as "the ink of Huai Su, a monk, and Gao Xian, and a glimpse of his brushwork". He wrote in "Postscript of Poems in this Temple": "In modern times, scholar-officials rarely got the ancient method, but they circled the pen left and right, hence the name cursive script. I didn't know that tadpoles, seals and officials agreed to the same method. For hundreds of years, only Huai Su and Yu, crazy monks in Yongzhou, knew this method. Su Caiweng was enlightened, but he couldn't bring his religious interest into play, and the rest were useless. "
The maturity of Huang Tingjian's cursive script also benefited from his understanding of foreign art. In addition to what he mentioned above, "Watching oars in a boat for many years and pulling them in groups is a feeling of not making progress, and you need to use a pen for your own pleasure", he also explained the reason in a passage: "I live in Kaiyuan Temple in Sitang, Yi Xi, and sit down and watch the country. Every time you work here, you seem to get help from mountains and rivers. However, the long history and crazy monks all depend on each other, and entered the wonder. I don't drink, and suddenly 50 years later, although I want to do something good, I'm not good at it. I always stumble when I write, and I can't write back when I'm drunk. " Both Zhang Xu and Huai Su entered an irrational state of ecstasy through drunkenness, and they were often elusive and superb. Huang Tingjian doesn't drink, and the grass is all in his head, so that he can use a pen. But his meditation and wonderful enlightenment, though rational, can also be opened and closed, gathered and closed, and entered the realm of writing. And its pen, by contrast, is more calm and elegant, although ups and downs, but also can stay everywhere, stay everywhere. Huang Tingjian's "All Seated Posts" and other Buddhist cursive scripts are really wonderful. Thus, Huang Tingjian created a new realm of China's cursive script.