Like his predecessors, Huang Tingjian also fiercely attacked Xikun Ti. Xikun poets pay attention to rhythm, antithesis, and rhetoric. Huang Tingjian's portrait
In order to get rid of the influence of Xikun poets in art, starting from Ouyang Xiu and Mei Yaochen, they tried to improve their ideas, use of words, sentences, and articles. Make some new explorations in other aspects. After the middle of the Northern Song Dynasty, the peaceful situation for more than a hundred years and the risks of old and new party struggles made many poets increasingly divorced from reality. The publication of a large number of books at that time and the rise of feudal culture made them not satisfied with the use of ordinary allusions, but sought to The competition for newness is surprising (Note: Ouyang Xiu and Mei Yaochen wrote, and they were dissatisfied with the White Rabbit poems written by people at that time, which were all based on Chang'e's Moon Palace). Su Shi's poem "Juxingtang Snow" was "forbidden story", both of which saw poets at that time arguing. The new and surprising trend has become even more serious with Huang Tingjian). In this way, although they tried hard to learn from poets since Du Fu and Han Yu in terms of poetic technique, they failed to better inherit the realist spirit of poets since Du Fu and Bai Juyi. They got rid of the formalism of Xikun style and embarked on a new path of formalism. This is the Jiangxi Poetry School that gradually formed in the late Northern Song Dynasty. Not all poets of this school were from Jiangxi, but Huang Tingjian was so called because he had a particularly great influence on this school of poets. "Tiaoxi Yuyincong Hua" once quoted Huang Tingjian's poem saying: "Following people's plans will lead to future generations." It also said: "It is most taboo to follow people's plans in articles." It can be seen that he has the ambition to open up a path in literary creation. . However, his social contact was much narrower than that of his predecessors, Ouyang Xiu, Wang Anshi, and Su Shi. His long-term study life and creative tendency to break away from reality forced him to choose a creative path that focused on book knowledge and writing skills. He said: "The excellence of poetry must come from knowledge." (See "The First Collection of Tiaoxi Yuyincong Hua") He also said: "Old Du wrote poems, but when he retired, he wrote essays. Not a single word has its origin; it will inspire future generations. Hu said that Han Du, who was little educated, wrote these words himself. Those who were able to write in ancient times could really cultivate all things. Even if they take the ancient sayings and put them into calligraphy, they are like a magic pill that turns iron into gold. Book") can see his tendency. So how to take the ancient sayings and turn iron into gold? It is based on the poetic meaning of the predecessors, with changes and descriptions, in an attempt to introduce the new. He called this approach "reborn", "using the commonplace as elegance, using the old as the new", and "using the decayed as magical". For example, Wang Bao's "Tong Yue" describes the bearded slave's beard as "as distant as the bamboo on the edge of the slope". Huang Tingjian's poem "Ci rhyme Wang Bingzhi Hui Jade Printing Paper": "The prince's hair is like a bamboo on the slope, and the poem is like a breeze rising from the empty valley." Further, using the breeze in the empty valley to describe Wang Bingzhi's big beard that can't hear the sound, it has a new meaning. Another example is that later generations, based on Li Yannian's "Song of Beautiful Women", used the words "alluring city" and "alluring country" to describe beauty, which has become a commonplace. Huang Tingjian's poem "Ci Yun Liu Jingwen Deng Yewangtai Sees Thoughts": "Public poetry is like beauty, and you are already in love before you marry." The meaning is deeper, and it is in line with the elegant taste of these literati. These techniques of using book materials actually summarize the experience of poets since Du Fu and Han Yu in this regard. The difference between him and other imbecile literati who imitate and plagiarize is that he avoids overcooking in the selection of materials. He likes to find some obscure allusions and rare words in Buddhist scriptures, quotations, novels and other miscellaneous books. Strive for surprising changes in the use of materials to avoid eating them alive. In order to be different from the Xikun poets, he also deliberately created awkward sentences, rhymed with dangerous rhymes, and made hard words. He even abandoned the effective artistic techniques that poets have always paid attention to such as harmonious rhythm and vivid lyrics. The poem below is better able to express this aspect of his characteristics. My poetry is like that of Cao Cao, who is too shallow to be a state; my public is like the great state of Chu, which swallows up five lakes and three rivers. The wind and moon flute on the Red Cliff, the cloudy windows of the Yutang; the syntax is consistent, the fortified city accepts my surrender. The withered pines fell into the ravines and were crushed by the waves; ten thousand oxen were unable to push them forward, but the male was able to carry them alone. Everyone sneered, but he was not Chao Zhangshuang. He looked at each other with open arms and bowed to Lao Pang under the bed. I don’t know what the child is, but the guest may be generous; he is a sincere son-in-law, A Xun, and buys a red wine jar. ——"Zizhan's poems are wonderful for a lifetime, but Yunxiaoting's solid style is followed by rhyme and Taoism." This is a poem he wrote in reply to Su Shi. The first four sentences say that his poems are not as grand as Su Shi's. The twelve sentences in the middle describe Su Shi's appreciation of him, and at the same time express his arrogant character, like a withered pine that has fallen in a ravine, which cannot be pushed back by the waves and cannot be pulled forward by ten thousand cattle. The last four sentences say that his son may be a good match for Su Shi's granddaughter Ah Xun. The implication is that his poems cannot be compared with Su Shi's. This is exactly what the poets of the Jiangxi School later said: "If you hit someone hard, they will come in, if you hit someone hard, they will come out." They used a humorous and teasing attitude to express their friendship. This poem follows the familiar path of five-character poets since the Jian'an period, from the use of words, sentence construction, and fateful layout. However, compared with other poems such as Cao Zhi's poems for Ding Yi, Shen Yue's poems for Fan Yun, and Du Fu's poems for Li Bai, although Huang Tingjian's words were well-written and his ideas were surprising, he still failed to effectively express his true feelings. Of course, as an artistic master who created a poetry genre, not every poem written by Huang Tingjian is so blunt. When he was inspired by true feelings and situations and got rid of the habit of deliberate curiosity to a certain extent, he was still able to write some fresh and smooth poems, such as the following examples. Thousands of people died in the desert with hairy hair on their temples, and they were born in Qutang and passed the preliminaries. Smile before arriving in the south of the Yangtze River, facing Junshan from the Yueyang Tower. Huang Tingjian sent a poem to Liu Jizhan
In the wind and rain of the Sichuan River, I leaned on the railing alone, tying up the twelve servant girls of Hunan E. It's a pity that you can't see green mountains from the surface of the lake, but from the piles of silver mountains. ——"Climbing the Yueyang Tower in the Rain and Looking at Junshan Mountain" The idiot has taken care of the public and family affairs, and the east and west of the Kuai Pavilion are leaning against the evening sun. Thousands of fallen trees and mountains, the sky is far and wide, and the moon is clearly visible along the Chengjiang River. Zhu Xian is already a beautiful woman, and her blue eyes are as good as wine. Returning to the boat after thousands of miles to play the flute, I am in alliance with the white gull. ——"Dengkuai Pavilion" When predecessors discussed Song poetry, they always referred to Su and Huang together.
The scenery of Su poetry is vast, like the Yangtze River, with surging waves, creating a spectacle of its own; while the scenery of Huang poetry is severe, like dangerous peaks rising thousands of feet from the ground, making people intimidated, and each creates a different realm in art. However, Huang Tingjian's achievements cannot be compared with Su Shi's, because although his poems can eliminate clichés and form a style characterized by freshness, thinness and hardness, they still cannot conceal the emptiness of his life content and his tendency to break away from reality. Song poetry initially formed an anti-Western and Kun style school because authors such as Ouyang Xiu, Su Shunqin, and Mei Yaochen faced reality and used poetry to coordinate their political struggles, which reflected the will of the people to a certain extent. Huang Tingjian said about poetry: "Poetry, the human nature is not to forcefully admonish and criticize in the court, to be resentful and to criticize the Tao, to be angry with neighbors and scold them." He also said: "Their hair is to slander and insult, and it is to lead to fight. Everyone thinks that those who are caught in the crosshairs because of their quick anger are the fault of poetry and that they have lost the purpose of poetry and it is not the fault of poetry." ("After the Miscellaneous Odes of Qushan by King Shu") Obviously, this is a cancellation. If we lose the combat role of poetry, the result will inevitably be to embark on the road of breaking away from reality and one-sided pursuit of artistic skills, deviating from the direction of the poetry innovation movement. Huang Tingjian's calligraphy can be divided into two stages. The previous stage is what he calls Yuan Youjian Shu. It is to inherit each family and melt it into one's own. In the latter stage, we strive to innovate. He has very high and strict demands on himself, and often criticizes the works written by Yuan Yujian before he was forty-nine years old. Said: "Huang Tingjian's whole body inscriptions and postscripts
Yuanyou's writing is dull and he can't use many pens." Even when he was demoted to Rongzhou, he said: "It's disgusting to see old books; there are probably three crosses in them." "The four characters are different." But judging from the surviving yellow books, only the main book "Boyi Shuqi Temple Stele" written in the sixth year of Yuanyou (1091 AD) is close to Chu Suiliang in appearance, and has not yet established its uniqueness. style. However, he followed Xue Ji's method of learning Chu, step by step, stuttering, trying to avoid the failure of learning Chu, and falling into the disease of slippage. This initially laid the foundation for his later works to use the brush to escape everywhere and the pen to be concise. As for his large calligraphy, "The Stone Carvings of Poems on Touring Qingyuan Mountain" written when he was thirty-nine in the sixth year of Yuanfeng (AD 1083), it opens and closes vertically and horizontally, majestic and majestic, and captures the essence of "The Crane Inscription". And blend into its own appearance. It is better than the steps of the ancients like Yang Xin who learned from Wang Xizhi and Xue Ji who learned from Chu Suiliang. Another example is the "Manuscript of the Epitaph of Elder Wang" written when he was 42 years old in the first year of Yuanyou (AD 1086). In recent years, it was unearthed that in the second year of Yuanyou (1087 AD), when he was forty-three years old, his official script "Epitaph of Wang Chunzhong" and his running script "Bao Jiang Tie" were influenced by Su Shi. However, he corrected Su Shi's shortcoming of "holding the wrist and lying down with the pen" by using the straight center forward method. The writing in "Medicinal Prescription" is about to fly, and the last two lines are written carelessly and placed in the two drafts of Zhu Yan Zhenqing's "Essay on Sacrifice to Nephew" and "Tie for Seating", and it is almost impossible to distinguish between the two hands. This shows how profoundly he learned the skills of the ancients. But when he was seriously creating, he was determined to innovate and disdained to follow the footsteps of his predecessors. The rest, such as "Huayan Shu" and "Fa Yuan Wen", have not yet reached the end of the road, and can be concluded to be Yuanyou Zhongshu, which adopted the style of Yan Zhenqing's large characters and extended the shortened strokes to form his own look. In fact, Huang Tingjian's book had already been married during Yuanyou's reign. But he is ambitious and not complacent at all. On the contrary, it belittles the achievements made in the past. In the art of calligraphy, he absorbed the advantages of ancient and modern people, and after integrating them into his own, he further continued to transform and innovate, becoming a unique style that was unprecedented in his later years. In The Valley Collected Works. There is a record like this: Chao Meishu's memorization of Yu's letter only had rhyme, and as for the stippling of Youjun Pogo, there was no trace of it. Someone who followed me reported Ruo Yan to Chen Liu, and he laughed: "Uncle Ruomei will join forces with Youjun. You Meng Duizhang said, is it Sun Shuaoye?" There was someone Qiu Jinghe who imitated Youjun. The military writings are written with a smooth meaning, but they are bound by the rope and ink and cannot be controlled. I gave him a poem as a gift, among which there is "The character is beautiful and clear, who can learn from it" "Orchid Pavilion". The big characters are "Xihe Ming" and the late "Ode to Zhongxing" on the stone cliff. Don't be stupid with small characters, "Le Yi Lun" is better than "Legendary Teaching Sutra", following people's plans to end the descendants, starting from the beginning of one's own family. "I wonder if Uncle Mei has heard of this theory? From this, we can see that Huang Tingjian's calligraphy art is based on the past and does not depend on the ancients. , determined to innovate. Although he was not good at writing, he wrote "Songfeng Pavilion Poems" in his later years, which still could not stop him from exerting his creative talents. "Jing Fubo Shrine Poetry Volume" was written after illness, claiming to be a collaboration. Later, he wrote a self-titled poem: "If you go to Huainan and see the old things, you will be happy, how can you compare with Huang Luzhi's calligraphy in Yuan Youzhong?" As well as "Su Shi's Cold Food Poems Volume Postscript" and "Fan Pang Biography" are all collaborations in his later years. "The Biography of Fan Pang" was written when he was finally exiled to Yizhou and died soon after. The old pen is more sophisticated. Huang Tingjian's achievements in cursive calligraphy are the most outstanding among the people of the Song Dynasty. "History of the Song Dynasty." "The Biography of Huang Tingjian" emphasized that he was "good at cursive calligraphy". He himself said: "I have studied cursive calligraphy for more than thirty years. At the beginning, I took Zhou Yue as my teacher, so I kept up my vulgarity for twenty years. Later, I learned about Su Caiwengzi's beautiful calligraphy. I got the calligraphy of the ancients. Later I got a glimpse of the ink of Zhang Changshi (Xu), Seng Huaisu, and Gao Xian. "When he was banished to the gorge in Sichuan, he saw that "the soup has been soaked for a long time, and the crowd pulled it out." I also saw "Huaisu's Autobiography" collected by Shi Yangxiu's family. "Looking at it endlessly, I suddenly felt that it was extraordinary." Only then did I realize the samadhi of Zangzhen (Huaisu's nickname)'s calligraphy. Take off the "tackiness". Zhang Xu, Huai Su, and Gao Xian are famous for their wild grass. Huang Tingjian wrote in his book: "The regular script is like a fast horse entering the battle, and the cursive script is to be left and right." We can see his wild cursive writing in his books "Li Taibai Recalls the Old Travel Poems" and "Zhu Shang Tie", Although the paper is full of clouds and smoke, flying flowers fall everywhere. The rhythm is very strict, the writing is thoughtful, and no stroke is frivolous. The word "lou" in "Remembering the Old Poems" uses the brushwork of painting lines.
"Zhu Shang Zu Tie" is like a light cloud moving slowly, and the sky is changing. The "Hua Qi Shi Tie" is written in cursive form as in the original script, a change from the old method of Xu and Su, and has reached a very high level of achievement. Huang Tingjian's official book, "Inscriptions on the Postscript of Ming Zan's Poems", written in large characters with a large ruler, more clearly inspired future generations to master the Yanghao brush and exert the powerful effect of rabbit hairs. The inscription "Li Gonglin's Picture of Five Horses" in small regular script has stipple and knotted characters that can be stretched to the height of 10 feet without being lost. It has truly achieved the high artistic achievement of "small characters are like big characters". The characteristics of Huang Tingjian's calligraphy in the "pen formation" are like marching in a strict formation, with every step of the way, thousands of crossbows drawn, and cameras fired in unison. Step by step, he describes the thoroughness and perfection of his point painting, and not a single stroke is frivolous. To ensure that nothing is lost in the battle; to stand ready to go, to talk about the danger of gaining momentum, to attack with surprise troops, to win every battle, to compare with the phenomena of nature, in terms of tranquility, it is like the ups and downs of hills and peaks competing for danger. The dynamic aspect is like clouds surrounding the mountain, endless changes. Huang Tingjian's conception of calligraphy artistic creation has achieved the unity of the contradictory aspects of movement and static. If Huang Shu is compared to Su Mi, and Tang poetry is used as a metaphor, Su is just like Li Bai. His talent comes from nature. "The clouds come out of Xiu without intention, and the birds fly back when they are tired." Those who do not seek to refine but work on their own are like Du Fu, who "doesn't stop until his words are astonishing", while Mi Ze's collection of sentences is full of flaws, just like Li He's genius, so it is inconvenient for beginners to learn. When studying Sanjia calligraphy, Su Huang should be the main body and Mi Fu should be the main body. Du Fu, the great poet, continued to read hundreds of schools of thought. This will avoid you falling behind and going astray. Everything should be divided into two parts, the big and the small. It is inevitable. We should look at the whole and the mainstream. Between Su and Huang, Su is the senior. Huang greatly admired Su's writing ethics, including his calligraphy. At that time, someone pointed out the shortcomings of Su's calligraphy: "Dongpo was writing Gordo's sick pen, and he was holding his wrist while the pen was lying down." Huang believed that "the leopard can be seen in the tube, but the general outline cannot be understood." Huang's calligraphy also absorbed Su's method. However, in the "Su Tie on the West Tower of Chengdu" engraved by Wang Yingchen of the Southern Song Dynasty, we can see that Su's "Preface to Qin Shaozhang" looks like a yellow script. It shows that they learn from each other, draw on each other's strengths, and influence each other. In Huang's book, in his later years, in the process of innovation, he excessively sought changes, which also brought about some habits. He lengthened some particularly shortened strokes in Yan Zhenqing's original work, which is his fickle side. But sometimes it goes too far. The most obvious one is that when he was fifty-five years old in the third year of Yuanfu (AD 1100), the word "house" in "Zhang Datong's Begging Scroll" is on top. This kind of habit is described by some as like a long snake hanging on a tree or a boatman holding a pole. Those who are good at studying yellow books should also consider changes and seek changes. It is not advisable to copy the gourd and accept both flaws and advantages.