In the second year of Qing Dynasty (13 13), he entered Beijing with Wang Shouyan and lived in Wanshou Palace in Chongzhen. Because of the reputation of poetry, Yang Zai,, Fan, Huang, and other scholars in Beijing are scrambling to make friends with them. Therefore, although they are hidden among the Taoist priests in Huang Guan, they are listed as literati and called "poetry, calligraphy and painting are the first in the contemporary era" by celebrities of the same age. Renzong heard his name and wanted to be an official. Zhang Yujian resigned from his official position, but returned to the Song Dynasty. Wandering between Huayang and marble, making the Yellow House has a rich history of ancient pictures. He works as a poet every day. Yan You (1314-1320) left Beijing and returned to Hangzhou Kaiyuan Palace. In the first year of Zhi Zhi (132 1), Kaiyuan Palace was destroyed by fire, and returned to Maoshan the following year to advocate the concept of longevity and Zhenjiang. In the second year of Yuan Dynasty (1336), Hui Zong resigned from his subjective affairs and enjoyed himself by drinking with friends. Or burn incense all day, sit in a secret room and leave the world alone. There are more than 50 poems about Zhang Yu's personal achievements, most of which are songs and answers. Some birthday speeches are mostly written to his foreign teachers and friends, with narrow content and outdated language. On the contrary, his singing and lyrics with secular friends have entrusted some real thoughts and feelings. For example, in his "Yulan Slow and Huang Yi Feng Wen Zheng" and "Zhou Shi Slow and Huang Yi Feng Qiu Xing", it is described that "there is a sense of sadness in old age, and flowers and wine are more fragrant". "It is said that after the death of the immortal, who dares to imitate, the winemaker and poet, the grass and the window, give me back my old moon", which shows his secular feelings of lamenting the fleeting time. These feelings have the same sentimental and special depressive characteristics as the literati in Yuan Dynasty. Some of his impromptu works, such as Chao Zhong Cuo, Early Spring Book Yi Xuan Jiuge, New House Wall, Walking in the Kitchen and Bamboo Room, Nooiyama Cup of Garden Official Cuisine, Talking about the New Nest, Apricot Blossom Blossoms, etc., have written the tranquil interest of seclusion in the mountains.
Zhang Yu also has some scenes describing his half-Taoist, half-Confucian, half-secluded and half-vulgar life and leisurely and sad words, which show the characteristics of the new Taoist in the Jin and Yuan Dynasties. He also has some things-chanting poems. Although he is very interested in imitating modality, there are always traces of restraint. Some of his poems deliberately imitate the graceful school of Song Ci, while others pretend to be strange, but there is no breakthrough in art, so his personal style is not very obvious.
Zhang Yu also writes poems, and some of his works are quite emotional, such as "Summer Map": "Snow lotus root is cooked on an ice tray for d, and the wave curtain is full of wind, and no one asks for it all his life. The yellow dust is afraid of the red sun road." Wrote about social injustice and people's suffering. Another example is "Blue in the Hammer": "Recently, the national fragrance has been exhausted, and Wang Cao is all over the world." Zhong Mu (Zhao Yong) is the son of Zhao Ziang. This poem has the meaning of mocking Zhao and his son as officials in the Yuan Dynasty. It is said that Zhao Zhongmu was ashamed after seeing this poem and stopped painting orchids.
Calligraphy Zhang's painting and calligraphy began with Huai Su and Zhang Xu. Font combined with grass, handsome and distinct.
There are some surviving books, such as Poems Living on the Mountain and Climbing the South Peak. Ni Zan said in the book Zhang Zhenju that "the poems, people, characters and paintings that are really mentioned are the best in this dynasty". His paintings are good at light colors, good at drawing stone and wood, and quaint with his pen. He is especially good at embellishing stone and wood figures with failure, which is quite interesting. His paintings include first frost Stone and Two Peaks with Jade. Judging from the style of calligraphy, Changyu absorbed a lot of "family style" of Ou Yangxun in the early Tang Dynasty. European calligraphy is the pinnacle of regular script, with strict norms and vigorous posture. Zhao said that calligraphy is "absolutely beautiful, one person in ancient and modern times". On the basis of inheriting Ou Ben, Zhang Yuxiaokai found another way to the refined spirit of some Jin people, adding a lot of color to his books. Judging from the feeling of using a pen, the habitual movements of some horizontal strokes in Changyu's lower case are highly consistent with the "brushwork" created by folk Confucian classics, which is a problem worthy of attention, perhaps because Changyu himself is a clever "calligrapher of Confucian classics" hiding in the jungle Taoist temple. The oblique cutting, light line, heavy press, light entry and heavy entry of some horizontal strokes in the works are highly consistent with the folk calligraphy of "writing classics". Moreover, the gestures of some of them make people suspect that this work was written in lower case by Ming people. From the application of Zhu Zhishan and Wang Chong's lower case in Ming Dynasty, we can see that the writers of lower case in Ming Dynasty were more or less influenced by Changyu's lower case. This calligraphy style and the method of "handed down from generation to generation" conform to the objective development law of calligraphy. Zhang Yu's calligraphy style of "inserting lines in letters" has gradually become a common calligraphy style since Zhao used it. This style also frequently appeared in his later works in lower case letters. The works of Ni Yunlin, his contemporaries, and later Zhang Ruitu, Huang Daozhou, Wang Duo and others also followed this style. Zhang Yu was born in Taoism, but his writing style is rigorous and meticulous, especially his small letters, which are neat and clear, full of ancient rhyme, and have a certain distance from his Taoist aesthetic view of "Taoism is natural" and "Tao can be Tao, which is extraordinary". Whether this deviation is normal or abnormal can only be known by putting yourself in the other's shoes; If we rely on our own subjective guess, maybe we will be biased. This is the same reason that northern men are not necessarily tall and powerful, and southern girls are not necessarily gentle and affectionate. Individual phenomena are not necessarily subordinate to universal phenomena, and Zhang Yu's lower case works convey this message as we do. Taoist calligraphy is not necessarily illusory.
Handed down works include The Story of Taixian Pavilion (now in Shanghai Museum) and Two Poems with Pictures (now in the Palace Museum). He is the author of five volumes of poetry collection "Zhen Ju Ji" (also known as "Poems and Songs Outside History").
Calligraphy features Zhang's book is a beginner. He entered Song Xue's room. Zhao instructed him to study Li Yong's Monument to General Yunhui, and he got sparse Chinese characters and brushwork.
Therefore, it tends to be fierce, and its trace can be seen in the book Taixian Pavilion Record Volume. He removed the elegance and calmness of Zhao Shu and added elegance and nobility. His "Jiusuo Mountain Poetry Regular Script Volume" has the bold and elegant spirit of the Six Dynasties. Later, he traveled more and more. After the age of 60, he took off his cassock, returned to Confucianism, lived in seclusion in Hangzhou, and lived with a group of hermits such as Huang, Ni Zan and Yang Weizhen, especially as a companion. After that, great changes have taken place in his thoughts and life. He indulged in debauchery, having fun, and coveted "a moment of spring is priceless." Calligraphy, he was also a private scholar in Mi Fei, and his calligraphy style became unrestrained. His masterpiece "Climbing to the Top of the Axis of Nanfeng's Poems and Calligraphy" uses a special contrast between density and agitation in style and composition with a slender pen from truth to truth, and the work presents an extreme recluse scholar. Therefore, Zhou Zhishi, a scholar in the Ming Dynasty, commented on "You He Tang Mo Tuo": "Zhang Boyu is healthy, and he is close to the monarch." This aesthetic view naturally belongs to the scope of Zhao Meng's aesthetic golden mean. The calligraphy axis of Deng Nanfeng is a vertical axis, with a height of 108.4 cm and a width of 42.6 cm, which is rare in the calligraphy works of Yuan Dynasty. According to the Complete Works of China's Calligraphy, among the nearly 300 works in seven volumes compiled by 80 calligraphers in Yuan Dynasty, there are only 7 vertical works, including 2 by Yang Weizhen, 4 by Changyu and 0 by Ni Zan/kloc. It can be said that Zhang Yu and Yang Weizhen are the pioneers of China's calligraphy from Han miscellaneous, Jun, Jun to vertical axis. Among the four vertical axis works handed down from generation to generation, the brand-new Autumn Poetry Axis, which exists in the National Palace Museum in Taipei, is the earliest one. Written in his later years (i.e. 59 years old), the scale is/kloc-0 154.3cm×34.3cm. The cursive script with seven quatrains is two lines to the right, and the next paragraph reads eight particularly small running scripts at the bottom left: "Dayuan to Zhengxin Temple. Obviously, the author has not found the proper composition of the manuscript fee, which should be regarded as his attempt to write a vertical book. The following "Zi Zhongshu Poetry Axis" is written in small letters, just like the above "Deng Nanfeng Axis", and there is no signature. Obviously, Zhang Yu has not found a mature structural position in her composition.
Two of the four-axis books are less than three feet high, which is still very small compared with the Gaotang axis, which often exceeds the height after the middle of the Ming Dynasty, but this change has caused great changes in calligraphy creation and aesthetic touch. If a large number of cursive scrolls by Zhang Xu, Huai Su and Huang Tingjian have completely divorced from practicality and entered the state of pure artistic creation, then Zhang Yu's vertical axis works have further divorced from practical functions in aesthetic form, so it can be said that this vertical axis book has entered the state of pure art from creation to aesthetics. Zhang Yu's pioneering work in vertical axis calligraphy creation.
Under the tide of retro-ism, he talked about returning to Wei and Jin Dynasties as usual, but in creative practice, he was still in the same strain as Su, Huang and Mi in the Northern Song Dynasty, and was essentially the opposite of calligraphy.
In the poem, Lu Xichun came to Qin Ding for three years. Except at night, he was a poet on a fishing boat.
Thatched huts in Jiang Mei. The stone wrasse splashed jade sand, and the bottom of the tile shed sent away the years. Ask the Twilight Crow, where is Arjun's home?
Up-regulating Wu Ye's Second Aid to Gui Yi and Returning Tang Maozhi (two songs)
Ginseng cage, landscape leisure, Xiguan welfare. Put away the poetry ladle and bring back the wine. Singing praises and drinking wine is as leisurely as Jiangnan Mountain.
Moving home, the secluded city and quiet things are all related. Liu Shangguan plays games and Han Kang sells medicine. There are countless good mountains in Guixi, including those in Lv Yun.
There is a present on Mrs. Yang Lianfu's desk.
Baby, Fairy Yupan holds Xia Chun in her hand. Who cares about the pipa under the curtain in the backyard?
Chu Shi's home in Xiangshan painted by the fairy of Jade Bureau is priceless in the spring. The old man is drunk, Qionghua black hat.
Shuangshui xianzi
Back to reorganize the old business, natural and unrestrained Chai Sang returned to Chu Shi's home. The grass temple doesn't need to be tall, but will it be clear and prosperous?
Paper window, cypress sofa. Hang a single picture for proud flowers and burn incense and make tea for teenagers.
Chaozhongcuo
Caotang moved to the ancient city of Wei. The horizontal steps behind the hall. If you want to be Chai Sang's neighborhood, you don't need gulls to guess.
Kitchen bamboo, garden formal dish, Nooiyama cup. When it's time to build a nest, the apricot blossoms are in bloom again.
Sentences and ways to bid farewell to friends
The cold forest at the foot of the mountain is quiet and Chu. A column of smoke outside Yun Fan Mountain. How about not drinking? My life is like a dream, and my sideburns are like this.
We can meet several times. Mo is going home now. The strong man broke the gold, the yellow crane was in the past, and the beautiful loess.
Qin Yi goose
The blue boat is so small that a tent can accommodate him. Hide. A few misty rains, a few faint rays of dawn.
The bridge is surrounded by green hills on three sides, and the city has been disturbed by the red dust. The world of mortals disturbs people, and it's green. How much is the canal?
Lanzhou is small, with Swallowtail Grass along the embankment. Skirt grass Green every year, withered several times.
The fishing song is upside down, and the hip flask is affectionate. Excuse me, I'd like to sit down and have a good cup of tea.
Taichangyin
Don't compare the West Lake with the West Lake. It has been a long time since ancient times. Afraid of living in a building. Also used sail short pu.
The silver bottle is wine, the knife is broken, and the back of the ship is blurred. Call early on the embankment. That's a smoker.
There is a poem about Yi Xuan in Yuhu Bay.
A cluster of strange stones and ancient moss niches. Half dipped in diced bread, which makes people laugh.
Hidden feet house, ringing and blocking, ginseng is the best place to go. Look, it's Jiangnan. Like a small pool to the west of the cobalt pool.
The bibliophile is a primitive writer, bibliophile, calligrapher and Taoist. In his early years, his real name was Zhang Tianyu, also known as Zhang Sizhen. Apollo, alias Zhen Ju, Tian Yu, Tianyu, Zhen Juzi and Zhen Ju Ren Zhen, alias Waishi, are descendants of Zhang Jiucheng. Qiantang (now Hangzhou, Zhejiang) people. He studied under Wang Shouyan and was recommended to the capital. He is a bachelor of Hanlin and is famous for his calligraphy, painting and poetry. In his later years, he lived in Sanmao Temple, studied the history of metaphysics and recorded the Taoist nobles of past dynasties. It is also called "Huang Zi House" to store the history of ancient books. Also in the south of the bridge as a "library stone room", full of ancient books. The book collection is printed with "History of Songs". Unfortunately, at the end of Yuan Dynasty, the collection of books was destroyed by war. He is the author of Origin Collection, Biyan Xuanhui Record, Searching for Mountains, Zhenju Collection (also known as the Collection of Foreign History of Juqu) and Maoshan Collection.