Zhao Mengfu (A.D. 1254- 1322) was born in Song Xue Road, Huzhou, with a bachelor's degree in Hanlin. Painting, calligraphy, poetry and prose are omnipotent. Calligraphy advocates the restoration of the statutes of the two kings, which has a beautiful and round style and won the charm of the two kings, which has a great influence on future generations. When learning Zhao characters, we must pay attention to the ups and downs of strokes, avoid smoothing, and go all out to write the connotation and strength of running script lines with our wrists.
Zhao Mengfu's Before and After the Ode to the Red Wall, a paper book, is 27.2 cm long and 1. 1 cm wide. Zhao was forty-eight years old and was at the peak of his energy and physical strength. Tang Di wrote the postscript: "Two poems by Dongpo wanted to get the books, but lost their rights, so they got the calligraphy of the Jin people. In his later years, he became familiar with his brushwork. It was not until the Tang Dynasty that he realized that the intention of the morning meeting was so deep. " The cursive poem post is known as the masterpiece of cursive genius in Ming Dynasty, and it is one of the top ten famous posts handed down in China. Zhu Mingyun Ming did it. Now in the National Palace Museum in Taipei, it is a paper book with a length of 36. 1 cm and a width of 1 147.5 cm. It is Zhu Yunming's masterpiece.
Zhu Yunming, born in Tianshun, Ming Yingzong (1460), died in Jiajing, Sejong, Ming Dynasty (1526). He was born in Changzhou, Jiangsu. Because he had a finger in his right hand, he claimed that he was born with branches and fingers, also known as Shan Zhi. Zhu Yunming was born in an official family. He is a scholar. His grandfather Xu Youzhen, grandfather Zhu Hao and father-in-law Li Yingzhen are all well-read and good at calligraphy. Under the influence of this family, it is said that Zhu Yunming can write Chinese characters at the age of five, write poems at the age of nine, and read widely when he is older. Because of his nature, he is informal, fond of drinking and bohemian. In the first year of Jiajing, he was transferred to Tianfu Tongguan. A few words later, he returned to his hometown and built a hall with stars in it. He made friends with Tang Yin, Wen Zhiming and Xu Zhenqing, the same county literati. At the age of 67, he was called four talents in Wuzhong.
Cursive script is more meaningful than Buddhism, especially the big cursive script, which is unrestrained, vigorous and hearty, and the composition and layout have broken the vertical and horizontal pattern. In the uneven levels, opening and closing knots, crossing films and letting go reveal a strong and shocking rhythm, but letting go is not unruly, but extraordinary courage beyond Buddhism. This courage is based on mature skills. So as to achieve a lyrical freehand brushwork situation, a situation of "letting go of the wild" and a situation of "doing whatever you want without overstepping the bounds". Throughout history, except Xu Su and Huang Tingjian in Song Dynasty, cursive script was pushed to a new peak in Ming Dynasty. In the Ming Dynasty, due to the development of handicraft industry, papermaking became more and more perfect, and the style of palace architecture and calligraphy began to develop from hand-rolled essays to large-scale works in the main hall. Large-scale works should be based on vigorous brushwork, fierce momentum and strong composition layout. This creative idea constitutes the characteristics of the times when people are still in power, and cursive calligraphy just meets the needs of this change, Ma Zonghuo. The calligraphers who were good at cursive writing in Ming Dynasty were Zhang Bi, Wen Peng, Wang Chong, Chen Daofu, Mo Yunqing, Dong Qichang, Chen Jiru, Huang Daozhou, Ni, Fu Shan and Wang Duo. They all galloped in this vast field and formed different styles, among which Zhu Yunming was the most famous one.
Zhu Yunming's regular script benefited from Li Yingzhen's guidance, which enabled him to combine the backbone of European characters, the hero, the beauty of Chu characters and the weakness of Yu characters, especially being good at small script and catching up with the legacy of Wei and Jin dynasties, thus laying a solid basic skill at a young age. The establishment of the model method is naturally a popular cursive script. Coupled with his bold personality, he has a special liking for cursive script. His cursive script was mainly directed by Xu Youzhen and traced back to the second king from Xu Su. After middle age, it became more and more popular. Since the Wei and Jin Dynasties, Wang Zhong went straight to Zhao Mengfu in the Yuan Dynasty and was bound to write, so the book changes in his later years were full of style and naivety, all of which were handed down from him. Like flowing grass, there are also wild weeds. No matter what form of cursive script, it can be written in Xu Yasheng. It has ups and downs, vigorous brushwork, messy stippling, seemingly chaotic but not chaotic, seemingly scattered in fact, not sloppy because of the will, and the pen can be broken and then started. It is fascinating to see stippling at the turning point. Wang Shizhen commented on Zhu Yunming's book Yiyuan: "The change of the Evening Festival is unpredictable, heroic and innocent." This post is enough.