Character profile
Liang Peilan was born in the twelfth lunar month of the second year of Chongzhen in the Ming Dynasty (1629). When he was young, he studied under Chen Bangyan and studied hundreds of schools of classics and history. He was extremely intelligent. , has a strong memory, can "diary thousands of words", and is known as a talented person. In the 14th year of Shunzhi (1657), he ranked first in the provincial examination. In the following thirty years, he went to Beijing for the examination 6 times intermittently, but failed in all of them. He named himself Manxi Sou, devoted himself to his studies, and became famous for his elegance and elegance. Every time Liang Peilan did something, people rushed to copy it. Liang's poems were extremely famous at that time, and famous officials, officials, and dignitaries were all honored to have his poems inscribed by him.
In the winter of the 20th year of Kangxi (1681), he formed a poetry club with Zhu Zhu and others. In the twenty-seventh year of Kangxi (1688), Xu Qianxue presided over the examination and used the "Tongbang method" to admit a large number of celebrities. Liang Peilan took the examination for the seventh time and won the Jinshi title on the gold list. However, he was already 60 years old at this time. . The imperial court appointed him as county magistrate, but he refused to take up the post because he was old. He was elected as a scholar of the Hanlin Academy. Liang enjoyed staying in Beijing to write poems, and the scholar-bureaucrats rushed to invite him to write poems and recite poems. During this period, he interacted and sang many songs with famous poets in the Central Plains. His poems were well received and he was recognized as a master of poetry. He interacted with many celebrities and princes. Nalan Xingde, a nobleman of the Qing Dynasty and a famous poet, admired his name, so he specially compiled a book and invited him to co-select and compile a collection of Song and Yuan poetry. Seven days before Nalan Xingde's death, he had a banquet and composed poems with him, Jiang Chenying, Gu Zhenguan and others. . After he passed the Jinshi examination, he had no intention of pursuing an official career due to his increasing age. He soon left the Hanlin Academy for some reason and returned south to live in seclusion in Guangzhou to support himself with poetry and wine. He also formed a poetry club with his friends to revive the Lingnan poetry style and devoted himself to cultivating new talents in poetry. .
The following year, Liang Peilan took leave of absence and returned home. She lived in seclusion in Conggui Fang, Guangzhou (near today's Conggui Road), where she gathered poets, formed a poetry club, and sang and sang. She lived there for fourteen years. In his early years, Liang Peilan and a group of Cantonese and Chinese poets established the Xiyuan Bailian Poetry Club in the west of Guangzhou. After taking leave and returning to his hometown, he gathered a group of poetry friends and reopened the Lanhu Bailian Poetry Society in Faxing Temple. He, Qu Dajun, and Chen Gongyin presided over it. They organized long-term poetry gatherings, chanted and sang, exchanged ideas, and helped future students learn. Those who invite guests to ask for other things will not listen to them because of illness; those who hold poems and essays will wear their clothes and talk endlessly. The famous poets of the younger generation who were taught by him include Wang Xun and Liang Wuji, who were called "the two most wonderful people in Lingnan" by Wang Shizhen, as well as Chen Aping, Han Hai and the female poet Wang Yaoxiang. Many poets from other places also came to consult him. In addition, Liang, Qu, and Chen also chaired Yuetai Poetry Society, Donggao Poetry Society, Tanmei Poetry Society, etc. According to the "Biographies of Qing History": "At that time, there were hundreds of people in the Linghai Literary Society, and Liang Peilan was the leader." His poetry creation attracted the attention of all parties in the poetry world. His works have broad artistic conception, powerful and elegant skills, and are unanimously praised by all major poetry schools. , was respected by people at that time as one of the "Three Great Masters of Lingnan" and the "Seven Sons of Lingnan". Liang Peilan is also good at writing lyrics, calligraphy, and painting. His lyrics are known as the master of Cantonese poetry in the early Qing Dynasty. The calligraphy of Li Yong, Su Shi and Mi Fu is integrated into one and has its own style.
At the end of the 41st year of Kangxi (1702), in order to celebrate the 50th birthday of Emperor Kangxi in March of the following year, an imperial edict was issued to those who had been away from home for a long time to serve in the imperial palace. Liang Peilan was summoned to Beijing. Less than a month after arriving in Beijing, it was time for the Hanlin Academy to take exams. Thirty people including Liang Peilan were dismissed from their positions as shujishi because they were not proficient in Manchu. Liang Peilan refused to submit to the election of county magistrate, so he left Beijing and returned to his hometown in the late autumn of the next year. He went south together with the poet Shen Yongji, singing and singing along the way, expressing his nostalgia for the past. In the spring of the following year, Liang Peilan arrived in Guangdong. He died of illness in Guangzhou in the next year. After his death, his family gave him the posthumous title of Mr. Wenjie. He was buried at the southern foot of Keziling Mountain in Baiyun Mountain in the northeastern suburbs of Guangzhou City. It is still well preserved.
Liang Peilan wrote the two volumes of "Liuyingtang Collection" and the first 16 volumes of the collected works handed down to the world, which contain nearly 2,000 of his poems. He also participated in the compilation of "Yangchun County Chronicle" (lost), and wrote the preface to the newly revised "Nanhai County Chronicle" in the 30th year of Kangxi (1691).
Personal Achievements Poetry
Liang Peilan’s poems include many poems about gifts and songs about scenery, as well as venting complaints about the frustration of fame and fortune, and also mixed with a sense of rise and fall. The more meaningful works are some chapters that reflect the hardships of people's livelihood, such as "Horse Raising Journey", "Pearl Picking Song", "Tea Picking Song", "Many Birds Flying", "Lumberjack's Ci", etc. This type of poem has fresh content, popular language, and natural emotions. It is a masterpiece, but it is rare. Most of his poems are too imitative of the ancient style, and their style of writing is relatively plain and straightforward. Overall, his poetic achievements cannot be compared with those of Qu and Chen. Classics such as "Biography of the History of the Qing Dynasty" and celebrities at that time such as He Gongdao and recent Xu Shichang praised his poems. Calligraphy and painting
Liang Peilan was also good at calligraphy and painting, and was good at painting landscapes and orchids, but it was rare. He was good at running script in calligraphy and was a leader in Lingnan calligraphy circles in the early Qing Dynasty. "Records of Calligraphers and Painters of the Imperial Dynasty" states that calligraphy was influenced by Wang Xizhi, while recent scholars such as Mai Huasan and Ma Guoquan claimed that calligraphy traced back to Li Beihai, Zhong Yao, Wang Xizhi, etc. from Su and Mi, and formed their own style. According to "Guangdong Handwritten Records Zhijian Lu", there are approximately 37 main handwritings handed down by Liang Peilan, which are recorded in "Zhuangtao Pavilion Calligraphy and Painting Records" and "Fengmanlou Calligraphy and Painting Records". His calligraphy is represented by "Seven Character Couplets in Running Script" (collected by Guangdong Provincial Museum). The text of this work is "When I have time to relax in the Yamen and chant chants, why not hold a Hut against the clouds and mountains", which has a very bohemian style of being tired of officialdom and stealing some leisure time. This work was presented to Wu Xingzuo, the then Governor of Guangdong and Guangxi, and its significance is even more intriguing. Chen Boren, a recent scholar, said that this book "is written in a smooth and vertical manner, still retaining the style of the Ming Dynasty". Looking at this book today, it is majestic and ancient, and the writing is powerful and vigorous. Recently, some good people engraved it on the stele corridor of Baiyun Mountain in Guangzhou.
The poems and prose of the "Three Lingnan Schools" are each good at their own merits, and they also have their own merits in calligraphy. The ancient "Preface to the Collection of Calligraphy" specifically discusses the differences between the three calligraphy schools. The book says: When I was young, I remembered that Mr. Qu Wengshan, Liang Yaoting and Chen Dulu from Guangdong gathered together to discuss books. Among the three monarchs, only Lu was good at making names with eight points. Liang said to him: "Gongshu has skills and knowledge, but there are many of them in the world. Servants have no skills and knowledge, but they hide their surnames and publish books to show people who know them." Bi said: "I want to see this son is not ordinary." So he said to Qu: "What about the official letter?" He said: "No matter if the servant has skills or lacks knowledge, he just writes it himself." , Isn’t it expensive to have a natural interest? It can be seen from this that the books of the three schools can all sing the sounds of nature. They all have their place in the history of calligraphy. Looking at Liang Peilan's running script again, this feeling becomes more apparent. Origin of the name
The reason why Liang Peilan is ranked among the "Three Great Masters of Lingnan" and ranks first is not without reason. It turns out that in the 31st year of Kangxi (1692), there was a poet monk from Panyu. Wang Falcon (whose name was Pu Yi, tasted Danxia and became a monk, and later returned to his first profession. When he died, he was given the private title Mr. Qingyi) compiled and selected poems by Liang Peilan, Qu Dajun, and Chen Gongyin, and named it "Poetry Records of Three Famous Masters in Lingnan". According to reports, Liang, Qu, and Chen were all alive at that time, and they all had singing relationships with each other. In terms of social effects such as the theme, ideological tendency, theme value, etc., Liang's poetry is obviously not as good as Qu and Chen's depth and breadth in terms of reality and people's nature. However, Qu and Chen lived in civilian clothes throughout their lives and had no involvement in the new dynasty. They had a strong national consciousness of resisting the Qing Dynasty. After all, Liang Peilan was a man of fame, well-known in Beijing, and well acquainted with ministers. Perhaps due to these factors, Liang Peilan ranks ahead of the two and has the most poems. According to the research of Deng Zhicheng, a recent scholar, in "The Preliminary Collection of Qing Poetry Chronicles", the reason why Wang Falcon selected these three people and named them "Three Families of Lingnan" was to "conceal themselves against the 'Three Families of Jiangzuo' (that is, in the early Qing Dynasty at that time)" Jiangsu poets Qian Muzhai, Wu Meicun, and Anhui poet Gong Dingluo). But regardless of the subjective intentions of the editors, the title of "Three Lingnan Masters" has always been recognized by people, and it still has strong artistic vitality even today. Moreover, the poetic style of the Guangdong generation played a role in promoting the past and opening up the future. Before this, the artistic value of Lingnan poets was mostly low in terms of national status. Tombs of Characters
Liang Peilan’s tomb is located at the southern foot of Kezi Mountain in Baiyun Mountain in the northeastern suburbs of the city. It has been announced as a cultural relic protection unit in Guangzhou and is well preserved.
The grave surface is made of gray sand and is divided into a tomb head (mountain circle), a mountain hand and a front desk. Facing south, the total length is about 13.4 meters. The ground is paved with gray sand and is divided into three levels. The tomb is the highest, followed by the Yamate and the front desk. The tomb is formed into a semi-cylinder shape with a gray sand wall made of bricks, with a diameter of 2.7 meters and a maximum height of 1.2 meters in the middle. There is a stele niche in the middle. The stele has long been dug out. According to the traces left behind, it is known that the original stele was 98 meters high and 45 meters wide. centimeter. There is a gray sand worship table in front of the niche, which is higher than the ground. The width between the two hands is about 5 meters. There are two epitaph stones, which are embedded in the gray sand walls with flat shoulders on both sides (hanging list). The stones are black and weathered, and many of the inscriptions have peeled off. The front desk expands to both sides and is about 8 meters wide. Because the hillside where the tomb is located is relatively steep, two layers of retaining gray sand walls (huiling) were built behind the tomb along the steep slope. The top of the inner gray sand wall is decorated with relief-style auspicious clouds and the moon, and a gray-black tablet is embedded in the wall. Zhao, 60 centimeters high and 38 centimeters wide, is engraved side by side in the middle: "Given Jinshi origin, Zhengshilang, Hanlin Academy, Shujishi, Xiankao Medicine Pavilion, Liang Gongfu Jun ordered Ruren Xianhe to be the tomb of Mrs. He of Liangmen". The next paragraph was engraved on the stone "On the 19th day of the twelfth month of Xinmao, the fiftieth year of the reign of Emperor Kangxi" and 14 of his grandsons and great-grandsons. The cemetery is surrounded by a pine forest, and the graves are overgrown with weeds and bushes, almost as many as people. There is a new grave made of cement on the mountain hand in the east, which breaks the east side of the front desk of Liang's tomb. In the center of the new tomb is a granite tablet "Xinhui Liang Gongxian's Tomb", which was buried in 1951. According to the rebuilt epitaph written by Wu Rongguang, it is known that the gray sand grave was rebuilt in the sixth year of Daoguang's reign (1826), and the two epitaphs on both sides of the hands in the tomb were written by Wu Rongguang. During the reconstruction, two layers of gray sand retaining walls (retaining walls) were built behind the tomb, and a new tombstone was erected in the tomb (which has been dug out and no longer exists). The original tombstone was moved to the inner nurse wall. (understand). Representative poems
Composed eight poems (four of them) from Changshui in the boat to Raoyang Road
The light rain makes me feel good, and the autumn flowers are fresh to people.
Autumn flowers shine on the river, and it is spring in the south of the Yangtze River.
The White Dew Festival has not yet come, but the white clouds are already new.
Bianzhou said to Zhouzi: The flowers are under the flowers and fishing.
On an autumn night, Chen Yuanxiao stayed in Dulu Hall and read his poems from the posthumous collection of his late great Sima (Part 1)
The article will not be published due to the major events in his life.
The ink marks are like stains, and the blue blood has almost dried.
When you are so confident that things are right, you don’t know that things in the world are difficult.
The light in the thatched cottage is dim, and the frosty air makes people feel cold.
Two Cantonese Operas
The spring breeze blows on the Cantonese King's Terrace, and beautiful mountains and rivers bloom in all directions.
The rise and fall of the past and present are still before our eyes, and the tides of the rivers come and go.
The water at the head of Pipa Island is clear and the tail of Pipa Island is level.
The sound of G is the sound of an oar, and the mother-in-law sings fishing songs to the bright moon.