Huang Tingjian was the founder of Jiangxi Poetry School in the Northern Song Dynasty, and he was also called "one ancestor and three schools" with Du Fu, Chen.
They, Chao and Qin Guan all studied under Su Shi, and they are collectively called "Su Men Four Bachelor". Although he belongs to Su Shi, he is as famous as Su Shi and is called "Su Huang" in the world.
Huang Tingjian, a gifted scholar, is so knowledgeable that he can't escape the trouble of "vulgarity".
His deepest kung fu is calligraphy, and cursive writing is his highest artistic achievement. In his classic calligraphy theory, the core ideas are "eliminating vulgarity" and "emphasizing rhyme". Fan Wen, a disciple of Huang Tingjian, summed up the teacher's rhyme in Qian, saying: "being good means rhyme", "being chic means rhyme", "being simple and poor means rhyme" and "the rhyme of remaining meaning".
How did Huang Tingjian "get rid of vulgarity" and "win rhyme"?
He himself said, "I studied cursive script for more than 30 years, and I took Zhou Yue as my teacher at the beginning, so I was full of vulgarity for 20 years." It is Su Cai Weng Zimei's late view of this book, which was written by the ancients. Later (Xu), Huai Su monk and Gao Xian's Mo Bao got a glimpse of his brushwork. "
It is also recorded in the book that the key to the rapid development of Huang Tingjian's brushwork is that he "swam behind Jing and gained the name of Lanting" before he realized that the ancients used brushwork. "
Regardless of whether the above statement is objective or not, I think the process of Huang Tingjian's "refinement" is a process of continuous denial, as well as a process of learning from the ancients, reforming ancient laws and bringing forth new ones. Huang Tingjian once said, "When I was young, I liked to write cursive scripts. At first, I didn't learn from the ancients. I peeped at the leopard in the tube and pushed it a little. When things were urgent, I thought I had done it, but I didn't know it for a long time. " I think I "don't know how to escape with a pen, so there is no pen in the word." In The Thorny Ship, after watching the oars for many years, the group of people brushed them off, but they felt that they had made less progress and achieved their goal, so they could use pens. I saw Huai Su's self-narrative post written by Shi Jia again, and realized the samadhi of Huai Su's brushwork, and got rid of "tacky".
It can be seen that on the basis of absorbing the nutrition of his predecessors, he really realized "refinement" and "winning rhyme", which is actually an innovative process.
On the basis of the calligraphy of Yan Zhenqing, Huai Su, Yang Ningshi and others, Huang Tingjian combined the running script with "Holding Heming" to form a brushwork of spear and spurge. It seems that "habits" are very heavy, but in fact they are all very good and exquisite.
The maturity of Huang Tingjian's cursive script benefited from Zhang Xu and Huai Su, but it was different from the extravagance of Xu and Su. In the dragon flying dance, the pen is solid and powerful, and the horizontal painting is full of twists and turns, or the dragon leaps and tigers leap, or the clouds are light and the wind is light, wonderful and multifaceted, and the circle turns extraordinary. As shown in Figure 1, it is Huang Tingjian's flowery poem post. It is said that using a bristle brush to make grass is like cutting a cone with a knife, for example, "Draw sand with a cone, Yin Yinni". Just like using regular script to make grass, the brushwork is meticulous and the structure is rigorous. It is a classic representative of yellow cursive script.
In The Biography of Lian Po Lan Xiangru, the charm of "being free from vulgarity" can be better reflected. As shown in Figure 2, he tried to bring the creative consciousness into the realm of weeds, with thin and hard corners, hovering and flying, full of paper dragons and snakes, and a pen of seal script running through. Obviously, lyricism is not as good as Zhang Xu's and conception is not as good as Huai Su's. It is "maintaining its degree" that creates the pattern of "rhyme wins" and avoids falling into the stereotype of wealth and plain. Figure 3. Figure 4 "All Seated Posts" and "Li Bai's Poems Remembering Past Years" have completely got rid of the shackles of Zhang Xu and Huai Su, with vigorous and powerful brushwork, elegant brushwork and expressive feelings. They look unique throughout, the words are staggered, and the spacing fluctuates greatly, resulting in a strong sense of rhythm and a thousand miles a day. Although some people have commented that Gu has deliberately applied for a job, it is inevitable that he will occasionally see traces of meticulous management. It's really hard and not tacky.