Which dynasty did Zhu Zhishan come from?
1, Ming dynasty.
2. Zhu Yunming (1460- 1527) is called Xizhe, with six fingers on his right hand. Since the six fingers on the right hand refer to health and mountains, they also refer to old firewood and mountain people. Han nationality, from Changzhou (now Suzhou, Jiangsu). His academic background, poetry and calligraphy ability, especially "Weeds" are praised by the world, and there is a saying that "painting is beautiful and words are beautiful". Six-style cursive poems, Du Fu's cursive poems, Tang Dynasty's cursive poems and Han Juan's cursive poems are all masterpieces handed down from generation to generation. It is as famous as Tang Yin, Wen Zhiming and Xu Zhenqing, and was called one of them in the Ming Dynasty. Because of their close relationship with Tang Yin, there are many anecdotes about them among the people.
3. Masterpiece
Zhu Yunming's works include 30 volumes, 6 volumes, 7 volumes, 1 volume, 4 volumes, 1 volume, 5 volumes of Strange Tales from a Lonely Studio and reading notes 1 volume.
Calligraphy achievement
Zhu Yunming was born in Suzhou with a strong cultural atmosphere, and his calligraphy career began with the example of his predecessors. Among them, his grandfather Xu Youzhen and his father-in-law Li Yingzhen had the greatest influence on him. Xu Youzhen is good at cursive writing. His cursive script was mainly imitated by Huai Su in Tang Dynasty and Mi Fei in Song Dynasty. It is gorgeous with a tall and straight, unique and colorful structure, very quaint. Professor Peking University and pioneer Li Zhimin commented: "Although our Wild Grass is weaker than Xu and Su, it is unique under the influence of Song people." [6] When Zhu Yunming was two years old, Xu Youzhen returned to Suzhou to live in seclusion. Zhu Yunming lived in his grandfather's house, so Xu Youzhen's calligraphy style had a great influence on him.
Li Yingzhen is also a famous calligrapher. Zhu Yunming has been guided by Young-jin Lee. Li Yingzhen studied calligraphy with her father-in-law for more than ten years, which played a great role in the development of Ming calligraphy in Zhu Yun.
According to Wen Zhiming's records, Li Yingzhen told him in his later years that it took him 40 years to learn calligraphy before he began to earn income. He discussed many calligraphy truths with Wen Zhiming. His letters are beautiful and elegant, with natural and generous strokes and vivid horizontal strokes. The size and thickness of words naturally change. His lyric cursive script also has a deep influence on Zhu Yunming. Zhu Yun Ming himself talked about learning calligraphy when he was a child, saying that his predecessors wouldn't let him learn modern Chinese characters, and all he saw was the copybooks of Jin and Tang people. It should refer to the study of regular script. It should be said that under the guidance of two predecessors, Zhu Yunming laid a good foundation and paved the way for future development. At the same time, their advantage of book style was also passed on to Zhu Yunming.
Zhu Yunming's calligraphy advocates paying equal attention to "nature" and "merit" and expressing spirit. Zhu Yunming's calligraphy thought takes "spirit" as the ultimate destination. To achieve this goal, he believes that "sex" and "work" must be equally important. "Sex" refers to people's spirit, and "Gong" refers to the ability and kung fu of calligraphy creation. He believes that there is no spirit if there is only skill without spiritual realm, but with noble spiritual realm, if there is no effort to express it, then the spirit can't really appear. Both are indispensable and must be combined. His representative works include Idle Autumn Residence, A Letter to Yuanhe, Yan Xi Ting Ji, Le Zhi Lun, Fan Ling Fu, Jiang Yun Ji and so on. He inherited the principle of paying equal attention to sex and morality. As for "merit", Zhu Yunming believes that it can only be obtained on the basis of learning from predecessors. Therefore, he was indignant at the statement that the Japanese did not want to study the tradition well and called it "slave book". Specially wrote down the "slave book order" to refute. At this point, in his later years, he also criticized his father-in-law Young-jin Lee in Shushu. His emphasis on "traveling along the Jin Dynasty to the Tang Dynasty" stems from his deep understanding of the history of calligraphy.
He thinks that calligraphy theory is extremely superior to Zhang Zhi, Wang Xizhi, Zhong You and Suo Jing, and later generations just follow their laws and cannot fundamentally change them. He believed that the Tang people could follow the principles of their predecessors and write according to the laws of the people at that time; The early Song Dynasty was not so bad, but it still had some merits in the middle Song Dynasty, and then it changed the tradition greatly, and the ancient laws were corrupted, mostly evil laws. Only in the Yuan Dynasty did Zhao Mengfu reverse his fashion and return to the Jin and Tang Dynasties. Unfortunately, he became a slave because of his weak personality. Therefore, you should know that calligraphy was originally intended to learn from the Jin and Tang Dynasties. After learning and being familiar with the tradition, its techniques must be unique, which is Zhu Yunming's further requirement for "work". In The Book of Songs, he said that he disdained to follow in the footsteps of Zhong You, Suo, Xian, but wanted to learn from the bravery of Xiang Yu and Shi and create himself. He wrote a postscript to Gu Shu Shi Li: "The study of Shuangjing (the study of Huang Tingjian) generally wins by rhyme, and the poems and paintings in the text are natural. Gu said that his books have accumulated solid merits and earned a solid income. Want to get the charm of Jin people, the appearance is so cool that people are lost! This volume suddenly hides the truth and almost has the wonderful effect of abortion. If you don't compare with Confucius, you are the same as Su Tong. " (Volume 25 of the Complete Works of Zhu Zhishan) It can be seen that he advocates learning from the ancients, seeking their charm and expression, and need not stick to stippling. [29] Therefore, he not only opposed the neglect of tradition by people at that time, but also emphasized that tradition could not really become a "slave book".
Zhu Yunming didn't talk much about "sex". His advocacy of "elegance and vulgarity" obviously refers to cultivating temperament and purifying the soul with knowledge and accomplishment, so as to reach a higher spiritual realm. With the above two points, you can create excellent works with spirit in the state of "forgetting me". His interpretation of "trance" is "temporarily out of the grid". Only by transcending all kinds of constraints can he "relax in the window" and express himself naturally. Zhu Yunming's requirements for calligraphy theory not only conform to the law of artistic creation itself, but also conform to the aesthetic requirements of literati painting and calligraphy, thus making his calligraphy achievements reach a high level.
Calligraphy characteristics
The main achievements of Zhu Yunming's calligraphy are cursive and regular script. Weeds come from Huai Su and Zhang Xu, which are closer to the Yellow Valley. Lifting strokes are used alternately, and the distance between lines is very tight, forming a visual effect of Wang Yang sea. Influenced by Huang Tingjian, calligraphy is called iron painting silver hook. What is even more rare is that regular script is quite rigorous and has the quaint atmosphere of Jin and Tang people. This contrasting comprehensive quality is very similar to Zhang Xu's cursive poem volume, Zhiyuan River handwriting, cursive thousand-character text volume and public volume in the Tang Dynasty. [9][8] Zhu Yunming's genius lies in integrating the characteristics of Huang Tingjian's brushwork into his own small-sized book. Therefore, Zhu Yunming's adoption of Huang Tingjian is undoubtedly a new creation.