This monument is majestic and solemn, and is highly valued by calligraphers. For example, Bao and Gong Zizhen compare it to the "harmony of righteousness", the crown of the southern monument. Ouyang Fu commented on this monument and said: "The brushwork is vertical and horizontal, and there is no habit of wild evil. Xiabei is particularly thin and particularly healthy. " Ye even said, "His pen is healthy, he can gouge out rhinoceroses and kill dragons and snakes, but his swimming is vain, all by luck. In the early Tang Dynasty, the schools of Ou Yu, Chu and Xue were all shrouded, not only the first in the Northern Dynasties, but also only one person since the publication of the book. He also said: "My name is Zheng Daozhao, and I am a saint in the book. Jia Zhu, a close friend, commented: "His achievements are by no means inferior to those of Wang Xizhi, and he should be regarded as a book saint in the north, enjoying equal respect with Wang Xizhi. "Zhong Zhishuai's" Learning to Choose Thin Products "said:" Yunfeng Wei inherits the aftertaste of Han Li in the north and opens the voice of Tang Kai. It is a masterpiece of a generation, worthy of the essence of the times. "Zheng Wengong Monument is in the transition period from official script to regular script, and its brushwork is still official script and regular script. In the Qing Dynasty, Bao said that this tablet has the characteristics of seal script, rhyme and grass, and it is "like a cloud crane and a seagull", which is one of the representative works of Weibei calligraphy art. Bao said: "There are many tablets in Weibei, and Zheng Wengong characters are absolutely true, and seal script rhyme is full of them. Iben Ying, a native of Shiben Valley, Hua Cuo, is of the same origin as grass, so it is called Cao Chuan. People who say nothing are close to each other. "It's Wen Zhen Yuan Qi Ye Zhen. Kang Youwei said after reading the Zheng Wengong Monument that people who have never seen this monument are not qualified to talk about calligraphy. In the Qing Dynasty, it became a rare treasure in Wei Bei. For example, the representative works of the North-South School are Yi heming by Nanliang and Zheng Wengong Monument by the Northern Wei Dynasty, both of which are cliff-mountain books with similar styles, which can be described as a double star between the North and the South. Gong Zizhen, a poet in A Qing, said: "If we want to separate from this inscription (referring to One heming), the Northern Dynasties will do something for Zheng Wengong. "Most northern writers are Shu Ren, whose books are anonymous, so the history of calligraphy calls northern Wei calligraphy folk calligraphy. In terms of names, Zheng Daozhao and his son were crowned as "the saints in the book" and Wang Youjun of the Northern School.
Kang Youwei once praised Zheng Wengong as "the pole of Weibei round pen". Judging from the rubbings, the pen used in this tablet is really round, but looking at the original stone, Fang Bi is the majority. It feels like a round pen because it belongs to a cliff. Inscription characteristics
1. synthesis
Compared with the rough epitaph of the Northern Wei Dynasty, Zheng Wengong's epigraph is graceful and ancient, broad and elegant. Throughout the chapter, the weather is more magnificent, simple and elegant, and seemingly unremarkable at will, but "people don't seek differences, they can't be the same, they can't live without work", and their natural interests are free, their hair is long at will, and they are wonderful. The row spacing of the whole monument is basically uniform, without any rigidity. The Epang Palace described by Kang Youwei is built on the mountain. Although it stretches for miles, the pavilions are ups and downs without a trace of chaos. It is one of the models of neutral composition.
In the blank arrangement of the whole monument, keeping a certain distance from the edge of the monument forms a natural sense of guilt, which conflicts with the extension trend of the structure and brushwork, and lays a stable tone for the whole monument to be "solid and heavy, elegant and elegant". According to the standard of books and documents, line 16 completes the text content, which naturally forms a long blank in the middle and upper part; The postscript follows the three lines of the book to form a small block corresponding to the large area of the text, and begins to transition to the end in the rhythm of composition; The inscription part is simple and dotted, which forms a spatial relationship from reality to emptiness with the big face of the text and the small face of the postscript. The upper part of the monument has irregular hook lines, which are formed by cracks in the monument itself. Judging from the content of writing, the tablet crack existed before the book tablet, which is different from the common man-made destruction or time stripping in later generations. However, due to the limitation of materials used in seal cutting, or calligraphers don't care about cliff carving, the inscription is still carved with stone. In order to prevent damage, the words are allowed to be smooth. The ancients talked about cliff-style works, and every time they talked about it, there was a saying that there was no routine, which mostly referred to this situation.
The grandeur, beauty and ancient style of composition are also inseparable from the power of pen when carving books. Chiseling causes damage to the mouth or roughness of stippling, which naturally differentiates to form mottled and muddy textures, including elegant and beautiful glyphs. The broad and elegant structure has created the magnificent opening and infinite charming composition momentum of Zheng Wengong.
2. Structure
Structurally, the Zheng Wengong Monument is broad in structure, magnificent in spirit and well-proportioned in flesh and blood. Throughout, there is a great Confucian style of "swinging on a gentleman and indifferent to human nature". The beauty of words is beside it, or it is correct, which integrates momentum, phonology and grass sentiment, stability, rigidity and rhyme, beauty and sparseness in dignified and vigorous, strange flying and muddy words in steady and vigorous, comfortable with pens, comfortable with words and smooth lines. The direction of strokes is gently stretched in the form of fonts, and the posture is changeable and relaxed. "If the stars are beautiful, there will be miracles." Therefore, Bao called this monument "Yunhe Seagull", while Kang Youwei called it "high-spirited, dense, and incredible".
3. The source and significance of the inscription features.
Zheng Wengong Going North is perfect both internally and externally, and the most important internal reason for neutralizing its composition is the smoothness of the pen and the intensive ending. The tablet is mainly based on simple and honest seal cutting, with the participation of Fang Bi Li Yi. The combination of seal cutting and seal cutting is really grass cutting. Bao and Liu Xizai think that the tablet is a legacy of the West Narrow, while Li Ruiqing thinks that the tablet is Pan's successor, both of which belong to the theory of pushing seal cutting and seal cutting. Tong Bei's brushwork is concise, his brushwork is smooth, his body is bent and his spirit is complete, just like Gu Song's bending, his spirit is brilliant, and he flows like a breeze.
Although the regular script in the Southern and Northern Dynasties was basically written by Zhong You, Wei Guan and Suo Jing, it is the legacy of seal script in Qin and Han Dynasties, which is the ancient meaning of Zhou and Qin Dynasties and has become a new law in the Six Dynasties. Zheng Wengong's stele is simple and elegant, and it takes the ancient method of Qin and Han Dynasties as its own, which is unique among the cliff stone carvings in the Southern and Northern Dynasties. Its successful artistic treatment is enough for later scholars to read it repeatedly and benefit from it. (Meihepu) Monument is the Zheng Monument of Wei Yanzhou, also known as Zheng Monument. Cliff stone carvings in the Northern Wei Dynasty were founded in Yongping four years (AD 5 1 1). There are two monuments, the upper monument is in Tianzhu Mountain, Pingdu, Shandong Province, and the lower monument is in Yunfeng Mountain, Ye County, Shandong Province. According to legend, it was written by Zheng Daozhao, which cannot be confirmed. The inscription on the tablet is very big and magnificent, and it has always been regarded as a typical round pen. Bao and Kang Youwei in the Qing Dynasty praised this monument, and most calligraphers in the North School wrote from then on. When writing, pay more attention to the turning point and the left and right writing, and beware of the rigid appearance of "New Wei Style". -"Appreciation of Historic Sites" Fee
The word "Zheng Wengong Shangbei" is small and has many characters, so it is difficult to identify it; The lower monument is large and well preserved. The so-called Zheng Wengong monument generally refers to the lower monument. The full name of Zheng Wengong's inscription is "Nanyang Wengong Jun Zheng Monument", which was published in Yongping four years in the Northern Wei Dynasty (5 1 1). Zheng Wengong, official name Zheng, posthumous title Zhengbei. The monument is 2.65 meters high and 3.67 meters wide, which is the crown of all stone carvings in the mountain. The inscription is 5 1 line 29 1243 words, which describes the history of the Zheng family in Xingyang and Zheng's life. Its calligraphy is rigorous, vigorous and beautiful, which can be called a masterpiece of a generation. Bao's "A Talk" in Qing Dynasty said: "The stone valley of the Northern Wei Dynasty, the five words of Yunfeng Mountain, the tablet and the epitaph of Diao Zun belong to the same category, all of which have the appearance of a crane and a seagull." Because the stone is hard and beautifully carved, although it has been more than 1000 years, it is still clear and angular, and the whole monument is well preserved except for the broken words. This is a wonderful book garden.