What do you think of the calligraphy of Qin Gui and Zhao Gou?

The following is an appreciation post named Xiaoxiang Yunshui's hair, which is posted at the same time for readers. Let me talk about some methods that I understand to evaluate a calligraphy work. Look at a word, generally there are two aspects. First of all, the so-called "skill" is somewhat mysterious but actually refers to the basic elements of calligraphy, such as brushwork, ink method, word formation, composition and so on. Simply expand it. The brushwork is how to draw a path on paper with a pen, which can form various points and strokes organically. Generally speaking, the pen pays attention to the so-called "center takes advantage of the situation, and the flank takes advantage of the situation." Different famous artists and sects have successively developed a unique brushwork system, as well as various exquisite works such as Leaked Marks, Broken Chains, and Cone Painting Sand. Later generations have different opinions, which are as miserable as a pile. But there are some basic principles that those of us who have painted Chinese characters for two days probably know, that is, the main point is to draw calmly, and avoid vain, floating, floating and painting, and avoid nailing, bee waist, crane knees and so on. Before the Ming Dynasty, writers didn't pay much attention to ink, but all used thick ink, just as Su Beard said, "Zhan Zhan is as beautiful as a child's eyes." After the middle of Ming Dynasty, he began to try to alternate light and shade (like Dong Qichang, who seems to like light ink), which enriched the expressive force of the whole layout. This knot is about the combination of dots and dashes in a word. Did the ancients have "internal reference"? The generalization of "L" and "extension" also made later scholars more confused and confused. Generally speaking, it is a kind of thin and restrained writing, such as Ou Yangxun (other examples are courtesy tablet, Wang Caoshu, Chu Henan and Li Beihai). ), and a vigorous and broad style of writing, such as Yan (other examples are Zhong You, Xiao Wang, Su Dongpo, etc. ). To put it bluntly, one word at a time, lasting. The composition is about the echo of words, lines and columns, and how to withdraw money and print. At the same time, we should pay attention to the changes of the words after writing. Like Zhao Meng, his cobalt art is profound. But seeing that the same words in his "Three Records" are written almost exactly the same, it is no wonder that Zhao has to bear the title of "the bodhi old zu in the pavilion" (giving Qi Zhao a new nickname called "printing machine", which I have seen in one of his essays). Calligraphy has a special position in China, mainly because it is a "national art". Most people who used to be literate could write two strokes. Although most people are "tall", they are more or less exposed to brushwork, ink painting, word formation and composition in the process of practicing Chinese characters. While practicing "hands", they can often improve their "eyes"-vision and appreciation. Secondly, the so-called "god" who reads words is the more mysterious things that the ancients often boast about, such as quality, rhyme, style, artistic conception and character. I don't want to add any more chaos in this ideological field. Simply put, the criteria for judging the same word in different dynasties and generations may be completely different. Even Wang Xizhi, a "book saint", is the same. It may be that Liang Wudi started to expand the market for Wang Xizhi at the earliest, and there is a famous slogan "Yue Long is in the sky, and tigers lie in the phoenix". During the period of Emperor Taizong, due to Li Shimin's strong support for the market, the worship of the king reached its peak, and he was formally established as a "book saint". Emperor Taizong loved Wang Xizhi very much. When he died, he took the Preface to Lanting to Zhaoling. But even in the Tang Dynasty, when Han Yu worshipped the king, he still shouted "Wang Xizhi's regular script is beautiful" ("Shigu Song"), openly challenging the mainstream media and clearly expressing his interest. Even so, the evaluation of other calligraphers is more controversial. For example, Su Beard's word is "stone-broken toad", Huang Valley's word is "dead snake hangs a tree", and so on. The intensity is even worse than the war of words in today's online forums, and the "cultural heritage" is strong. It is quite interesting for us to watch the excitement. The so-called "words are passed on by people" or "words are abolished by people" also occurs in this second level of appreciation, just as Fu Qingzhu commented on Zhao Ziang's so-called "despise people, then hate their books". With this attitude, I quite appreciate Mr. Bai Jiao's comments on Yan, but I can't remember the specific details, to the effect that "I know you are great, but I just don't like you." Fair without losing personality. It turns out that different temperaments make me reluctant to come. Next, let's take a look at Qin Gui's poems in the way of "discussing words and sentences". This work is one of the few handwriting handed down by Qin Gui. I have a beautifully printed original album. Scan one to show you the details.