Song Gaozong Zhao Gou and Calligraphy
Zhao Gou (117-1187) Song Gaozong, the word Deji, the ninth son of Zhao Ji, Song Huizong, was Zhao Huandi, the emperor of Qin Dynasty. At the age of 15, he was named Kang Wang. In November of the first year of Jingkang in the Northern Song Dynasty (1126), Jin Bing captured Bianjing, the capital of the Song Dynasty (now Kaifeng, Henan Province), and Emperor Hui and Qin were captured, which was destroyed in the Northern Song Dynasty. At that time, Zhao Gou, the King of Kang, was appointed as the Marshal of Hebei Military Forces, with 1, soldiers outside. Old generals in the Song Dynasty acclaimed him as the emperor. On the first day of May of the following year (1127), 21-year-old Kang Wang was officially enthroned in Yingtianfu (Shangqiu, Henan Province, then called Nanjing), and was renamed as the Southern Song Dynasty in history, which was called the Emperor Gaozong. He was the first emperor of the Southern Song Dynasty. In the early years of Zhao Gou's accession to the throne, he was able to use some anti-Japanese generals. However, instead of trying to recover the Central Plains from the north, he was bent on pleasing the Jin people, and after moving south, he built Lin 'an (now Hangzhou, Zhejiang). His administration is "making Hangzhou a Bianzhou", and he only knows how to pay tribute to Jin, and he has been in office for 36 years, becoming a partial security bureau.
speaking, Zhao Gou has a close relationship with my hometown Deqing. Zhao Gou was given the title of Kang Wang, and Kang Wang was given the title of Kangzhou, which is now Deqing County, Zhaoqing City. In the first year of Shaoxing in the Song Dynasty (1131), Zhao Gou was proclaimed emperor by Kang Wang. Because Kangzhou (now Deqing) was his hiding place, he "celebrated it with virtue" and called Kangzhou Deqing, which is still in use today.
Zhao Gou's political cowardice has long been a historical conclusion, but it occupies a place in the history of calligraphy. In the history of books, father and son calligraphers are called Yan, before which there are Xi Xian father and son, Ouyang father and son, and Michaelis father and son. In fact, Zhao Ji and Zhao Gou are also famous fathers and sons.
Song Gaozong Zhao Gou is worthy of being Song Huizong's own son, and he is talented enough to catch up with his father. His calligraphy draws on the strengths of many families, is comprehensive and original, and looks like everyone. He said to himself: "Yu's brushwork from Wei and Jin dynasties to the Six Dynasties has been copied without exception, and many people are prepared in the pen. The meaning is simple and there is still a choice. If it is posted, the benefits will be deep, and the benefits will be strict, so that it will be sung." Another cloud said, "I like to write words with my pen, although it is easy to be typical, but what my heart likes is inherent." In the past 5 years, no major interests have hindered each other, and no pen and ink have been given up before the beginning. " Song Gaozong really didn't build it himself. His diligence is a model for today's students. In the thirty-second year of Shaoxing (1162), at the age of 55, Song Gaozong abdicated and became the Emperor's Emperor. For the next 26 years, he practiced every day and never stopped. "Every time he got the right army or several lines or figures, his hands were not correct." Eventually, he was transformed into a family, and his brushwork was free and graceful, natural and fluent, and he was quite charming. The Book History Association praised him as: "The emperor is good and true." Ma Zonghuo said in "A Book of Trees and Algae": "The Emperor Gaozong first learned the yellow character, and the world suddenly learned the yellow character, then the rice character, the world suddenly learned the rice character, and finally the Sun Guoting character, and Sun Zi was prosperous ... He built a small art and advocated it from the top, and it was so popular." Zhao Gou himself is quite conceited about this: "The predecessors were able to correct the book and then cursive, and it was necessary to cover both methods ... The grass was soaring, inspiring the pen, outstanding and heroic, and ultimately undistorted." Lu You therefore praised Song Gaozong for "understanding the eight methods, paying attention to the quaint, and visiting the famous calligraphy and paintings; Spare no effort, leisurely swallow, show a lot of laziness. "
He is the author of Han Mo Zhi, and the ink handed down from generation to generation includes cursive Luo Shen Fu, Zheng Cao Qian Zi Wen and Guangming Tower Monument. Biographies such as Gu Kai's Inscription on Women's History and Chu Suiliang's Ni Kuanzan also refer to those who wrote the book.
Zhao Gou's cursive ode to Luo Shen
Luo Shen Fu is a famous work by Cao Zhi, and many excellent works have been produced from calligraphy and painting in past dynasties. As far as calligraphy is concerned, there are Wang Xianzhi regular script, Zhao Gou cursive script, Zhao Mengfu cursive script and Zhu Yunming cursive script, all of which are famous works in the history of calligraphy.
Zhao Gou's cursive "Ode to Luo Shen" is now in the Liaoning Provincial Museum. It is a silk copy with a height of 27.3 cm and a length of 277.8 cm. At the end, it was written in the Hall of Deshou, which is really a work in his later years. When writing, all the modal particle "Xi" in the original text is omitted, which is rare in calligraphy works. This work is skillful in writing, mellow in brushwork, fluent and vigorous in one go, flying and calm, which shows that the writer was full of energy and cheerful at that time, and it was a pen in his later years rather than a pen in his declining years. The work belongs to the grass, although the pulse is coherent, but the word is independent and the pen is clear. Zhao Gou once said, "Many predecessors can correct the book and then cursive, and it is indispensable to cover two methods ... Grass can make a phoenix soar, stimulate the pen, stand out from the bold, and never distort it." "Scholars who learn the correct book first in calligraphy should prepare eight methods, which are not attached to each other. As for the word, it can also be read correctly, and it will never change its essence, which will cover the remaining wind of the official. If the model method arrives, it will naturally be achieved in the second method, and there will be no surprises. "On the contrary, it is a mere formality, and those who don't know it refer to their eyes. It emphasizes the basic function of regular script, and advocates that cursive script "makes the strokes undistorted", so its books have no habit of continuous simplification and are easy to identify. In fact, as early as Su Shi, he often emphasized the importance of regular script, and advocated that cursive script should have statutes. As the saying goes, "True lines should be created, grass should be created, true lines should be created, grass should be created, and there is no one who can walk without being able to stand" (Su Shi's "After Six Books of the Tang Dynasty"), and Huang Tingjian also said that "the cursive script wants to be left and right, which is the beauty of the ancients" (On Books) If you specialize in cursive script, the Song people are also advocating the law. The worship of law even restricted the further development of cursive script in Song Dynasty.
Although Zhao Gou's volume is his own appearance, it also has its own origins, among which Zhiyong's influence on him is obvious, and the brushwork meaning and word potential can be seen. There are still some shadows of Mi Fei. Zhi Yong was specifically mentioned in Records of Han Mo, which was called "a collection of thousands of articles". Today, Zhao Gou's book trace also contains a thousand words of Lin Zhi Yong's true grass, which shows the depth of his immersion. In Records of Han Mo, Zhao Gou made no secret of his love for Mi Fei, and even recorded some details of Mi Fei's life, which is very popular among today's fans. Mi Fei is ugly and contemptuous in The Famous Words of Haiyue. In addition, we compare Mi Fei's Incense Sticks with Zhao Gou's Ode to Luoshen, and we can clearly see the similarity between them. It can be said that the early method of taking Mi Fei is still involuntarily revealed in Zhao Gou's later works.
Zhao Gou's regular script "Preface to Collected Works of Huizong" (partial) is 27.4cm in length and 137.cm in width.
Zhao Gou's running script "Give Yue Fei a Cut Volume" was written in the collection of Lan Qian Shan in the 11th year of Shaoxing (1141).
In the early years of Zhao Gou's accession to the throne, some anti-Japanese generals were employed, especially for Yue Fei, and he loved it. Not only that, Zhao Gou also wrote "loyalty to the country" four words for him. The above "Letter to Yue Fei" is a part of Zhao Gou's personal letter to Yue Fei, with the word "Fu Yue Fei" attached, which is the treasure of the imperial court, and the second seal of the emperor's royal pledge. The font is between the line and the block, which shows the author's profound calligraphy skill.
Zhao Gou's "Thousand-character Volume of True Grass in Yu Shinan" (partial) Shanghai Museum
This volume is a two-body thousand-character text of true grass in Yu Shinan, which is rounded and slightly lacking in pen power in Yu Shinan.
Emperor Gaozong is a beginner in Yellow Characters, and this painting is quite a legacy of the valley.
Zhao Gou's regular script "Seven-character Rhythm" is 27.1×48.7cm. This ink is collected by the National Palace Museum in Taipei.
This ink is written by Song Gaozong in regular script on Du Fu's seven-character Rhythm (that is, the matter), also known as "Poem Post of March in Late Spring". Written by the center, this poem is pleasing to the eye because of its neat composition, well-proportioned and rounded font and uniform ink color. The artistic conception of Du Fu's seven laws is picturesque, and Gao Zong's pen and ink wash the chain, which can be said to complement each other. After the poem, there was a picture of this poem written by Zhao Mengfu in Yuan Dynasty, but unfortunately it has been cut off.
gaozong retired in the late years of Shaoxing (1162), and the regular script he wrote during this period was elegant, harmonious, correct and even, with a kind of elegant and chic interest. This work is not only close to this style, but also has the seal (the treasure of imperial books) when Gao Zong was in office, so it is speculated that it should be written not far from retirement.
Zhao Gou's "The Book of True Grass Ji Kang's Health Preservation" Shanghai Museum
In the autumn of 2, Shanghai Museum bought Zhao Gou's "The Book of True Grass Ji Kang's Health Preservation". The inner core of this volume is as long as six meters, and the total text is 2472 words. It is not only true, refined and new, but also so long. It is indeed unique among public and private collectors at home and abroad so far, and it can be described as a rare treasure in the book of emperors and even in the law books of past dynasties. At the end of this volume, we can see the author's summary. According to Zhu Wenyin, the book of "De Shou Yu Shu" at the back of the volume, we can see that this book was written when Zhao Gou abdicated and called the emperor's father. It was once collected by Yang Yiqing in the Song and Yuan Dynasties. It was collected by Liang Qingbiao at the beginning of the Qing Dynasty and then hidden in the Qing Palace. After the Qing Dynasty, it flowed into the people.
The Book of Ji Kang's Theory of Health Preservation was written in one go from the title to the end, with the essence of truth and cursive script and accurate structure. Like Song Huizong's "The Thousand-character Volume of the Thin Gold Book", although the volume is defined by the words of the Wusi column, it is the most rare thing that the whole body is full of charm and charm. In Ji Kang's Book of Health Preservation, there are still regular script styles that are popular in Europe (Yang Xun) and Japan (Shi Nan), and the well-developed calligraphy style that strictly abides by the cursive script rules and comes directly from the "two kings" statutes, and the resulting high harmony between truth and cursive style is indeed something that is usually intended to be done by sketching.
The form of calligraphy in which the same content is written in different calligraphy originated in Sui and Tang Dynasties. According to "Xuan He Shu Pu Volume II", at that time, Shi Yuanya "had thousands of words in tadpole seal script, and his side was known by official script". Therefore, people gradually interpreted this phenomenon, which was originally meant to explain the text, into another calligraphy expression that can skillfully combine form and content, and is compatible with various calligraphy styles and develop their strengths. Other reasons for the continuous development of this art form are the objective existence of social and cultural phenomena at that time. For example, at the same time, Qianziwen, a popular book about nature, society, history, ethics and education, naturally became the best combination of this kind of book. It is reported that Zhi Yong of Sui Dynasty and Ou (Yang Xun), Yu (Shi Nan), Chu (Sui Liang) and Xue (Ji), who are known as "the four schools in the early Tang Dynasty", all wrote "Qian Zi Wen" in both true and cursive forms, and they have followed suit one after another since then, which may be the fundamental reason why the excellent calligraphy works of "Qian Zi Wen" have emerged one after another. Of course, since the Song Dynasty, there have been many forms of calligraphy creation, which are not limited to the written content, but also intensified. Song Gaozong's "The Book of True Grass and Health Preservation" is a wonderful example.
This should be a letter with Yue Fei, with sincere feelings between the lines, but it was later killed quickly. People are unpredictable!