Is Zhao Mengfu s books and character really cheap ?

Is Zhao Mengfu's books and character really "cheap"?

Zhao Mengfu was light, with Fu Shan.

relationship is the largest. Fu Shan inherited the theory that "books are like people" and put forward the extreme theory of "ignoring people and hating books". He said in "Writing Words to Show Children and Grandchildren", "Poor Dao is about 20 years old, and the calligraphy of Jin and Tang Kai passed down in the ancestors is omnipresent, and can not be slighted, and occasionally Zhao Ziang."

Dong Xiangguang ink, love its round and beautiful, and then come to it, and then want to mess with it without counting. There is no other, that is, if a person learns from a righteous gentleman, he only feels that it is difficult to get close, and he travels with the bandits, and his expression does not realize that he is close to the day and the day, and there is no one who is not. "It's just because of improper learning, so I have a soft and beautiful way."

Then he put forward the famous proposition of "four Nings and four nos". These remarks of his had a profound impact on the aesthetics of calligraphy.

In fact, Fu Shan's evaluation of Zhao Shu has also been misread and falsely rumored by later generations, intentionally or unintentionally. For example, "Yu Ji dislikes Zhao Ziang, and Bo Qiren hates his book." This is a reiteration of "despise his people and hate his books".

Today's calligraphers are familiar with this sentence, and often quote it to deny Zhaoshu. In fact, this is only the first half of the sentence, and the second half of the sentence is: "If you look at it closely, you can't be thick, familiar and charming, you are cheap, and you are still in the right vein."

Cover from the Lan Pavilion. The inner change is here, and the times are high, and it is also lucky.

Not only in the article, but also in the article. First suppressed and then raised, as soon as the conversation changed, Fu Shan was actually affirming Zhao's calligraphy, which was obviously a correction to his previous remarks. I don't know if I don't know the details without asking the roots, or deliberately selectively ignoring it, today's people often only advance half a sentence and not mention the second half of the sentence, and take the quote out of context, isn't it absurd? !

Zhao Mengfu's calligraphy is good at absorbing the advantages of others, and can integrate the advantages of other calligraphers. At the same time, he conducted in-depth research on the theory of calligraphy, and put forward a lot of calligraphy theories, which had a very profound impact on later generations. Zhao Mengfu is an important calligrapher in the history of Chinese calligraphy, and the evaluation of Zhao Mengfu in history is uneven and complicated.

So what is Zhao Mengfu's calligraphy, what is its significance in the history of calligraphy, and how later generations of calligraphers evaluate his calligraphy, this is a question that requires laborious and judgmental collation and analysis. The predecessors said that Zhao Mengfu's words were vulgar and boneless, too well-known and fluent, but these evaluations serve people as descendants of the Song family, and they are often based on their character, which is worthy of in-depth **. My hobby of Zhao Mengfu's calligraphy gradually changed, from the beginning I hated it to feel a bit vulgar, and gradually I was accepted and liked his calligraphy more and more, occasionally writing his cursive regular script.

Most of the regular script works have been passed down by later generations, among which the regular script works are the most important for the past dynasties.

The works in regular script include "Luo Shen Fu".

The Theory of the Qin Dynasty", the Biography of Ji Di, and the scriptures include the Tao Te Ching of Lao Tzu

Huang Tingjing" and so on. Later generations also classified Zhao Mengfu as one of the "Four Masters of Regular Script". "Yan Liu Ou Zhao".

Zhao is Zhao Mengfu. The other three were all from the Tang Dynasty, and one Tang Dynasty was the maturity and heyday of regular script, and its law degree and level were incomparable to other dynasties.

However, Zhao Mengfu can enter the four masters of regular script, which can prove the achievements of regular script, and the calligraphy of the Yuan Dynasty was deeply influenced by Zhao Mengfu, which is a phenomenon that other dynasties do not have. In Zhao Mengfu's traditional activities of enthusiastically promoting the return of the "two kings" to the classics of the Wei and Jin dynasties, his friends, family, friends, and students were all influenced by him, forming a huge and lasting "Zhao School" style of calligraphy, and he may have been born to eat this bowl of rice.

The most important thing is that his calligraphy is relatively elegant, not only has the aesthetic characteristics of traditional art, but also is very clear, concise, generous, decent, easy to understand, and maintains the traditional elegant art characteristics in creation.

Because Zhao Mengfu's calligraphy is fat but not thin, and it is very energetic. It's also very difficult to copy. It is a very good work.

Zhao Mengfu proposed to follow the ancient law and advocate the idea of the two kings, and was the leader of the retro Yuan Dynasty. He emphasized learning from the brushes of the ancients and attaching importance to the role of "meaning". He and Xing cursive beginners learned Gaozong, Zhiyong, and later Erwang.

His words are mainly neutralized. Graceful and peaceful, not excited, gathered and relaxed. His regular calligraphy is strict, the strokes are fine, the posture is flattering, and free and easy.

His calligraphy had a great influence on later generations, not only the entire Yuan Dynasty, but also the Ming and Qing dynasties.

Zhao Mengfu is erudite and talented, can be good at poetry and literature, understands economics, works calligraphy, fine painting art, is good at gold and stone, and understands Lu, and understands appreciation. In particular, calligraphy and painting have the highest achievements, creating a new style of painting in the Yuan Dynasty, which is called"Yuan people crown"。He is good at sealing, subordinate, true, line, and careful cursive writing, especially known for his regular and line calligraphy.

His style of writing is charming, beautiful, the knot is rigorous, the penmanship is familiar and repentant, and it is created"Zhao Ti"book, together with Ouyang Xun, Yan Zhenqing, and Liu Gongquan"Four regular script everyone"。

Zhao Mengfu is a famous calligrapher and poet in the late Song Dynasty and early Yuan Dynasty, he is erudite and talented, can be good at poetry and writing, his representative works include "Songxuezhai Anthology", "Autumn Suburb Drinking Horses", "Xiushi Sparse Forest Map", "Songshi Laozi Map" and so on. Zhao Mengfu created the "Zhao Ti" book, and Ouyang Xun, Yan Zhenqing, Liu Gongquan and called the "regular script four masters", its hand-me-down inscriptions have "Luo Shen Fu", "Tao Te Ching", "Bil Ba Tablet" and so on.

Zhao Mengfu's introduction.

Zhao Mengfu is the eleventh grandson of Zhao Kuangyin, Taizu of the Song Dynasty, the word Ang, the name Songxue Dao, is a calligrapher, painter, poet. In the twenty-third year of the Yuan Dynasty (1286), Zhao Mengfu was recommended by Cheng Jufu, the imperial servant of the stage, and was respected by the four dynasties of Yuan Shizu, Wuzong, Renzong and Yingzong. He has successively served as a bachelor of Jixianzhi, the general manager of Jinan Road, a Confucian scholar in Jiangsu and Zhejiang, a bachelor of Hanlin and other places, and a bachelor of Hanlin and a doctor of Ronglu.

In his later years, he gradually retired, and in the sixth year of Yanyou (1319), he begged for illness. In the second year of Zhizhi (1322), Zhao Mengfu died at the age of sixty-nine. He was presented with Pingzhang Political Affairs of Jiangsu and Zhejiang Zhongshu Province and Wei Guogong, nicknamed "Wenmin", so he was called "Zhao Wenmin". He is the author of "Songxuezhai Anthology" and so on.

Zhao Mengfu can be good at poetry and writing, work calligraphy, and have the highest achievements in calligraphy and painting. In painting, he created a new style of painting in the Yuan Dynasty and was known as the "Yuan Ren Crown"; Zhao Mengfu is also good at seal, subordinate, true, line, cursive, especially in Kai, Xingshu is famous in the world. His style of writing is charming, Xiuyi, strict and neat, the penmanship is familiar, and he creates a "Zhao Ti" book, and Ouyang Xun, Yan Zhenqing, and Liu Gongquan are called "the four masters of regular script".

Everyone doesn't have a high opinion of his words? I don't know how to say this. The calligraphy of the Yuan Dynasty did not go beyond Ziang, and there was more"I am the king of Xizhi"said.

Learn Zhao characters to get penmanship, but also to chase the two kings, down to explore the Ming and Qing Dynasty masters.

Beginners will feel that Zhao Xiumei is beautiful, but as their skills deepen, they will feel that Zhao is charming and powerless, and after learning for decades, they will feel that Zhao Zi cannot be surpassed.

The so-called low evaluation generally refers to the so-called"Temperament"Not high. Books and people have nothing to do with each other.

The rice character is indeed very individual, and the personality of the thing is easy to learn because of the obvious characteristics, but if there is no deep knowledge of regular script and the understanding of calligraphy, it is easy to fall into the form, and it is difficult to break through.

As for whether it is beautiful or not, it is a feeling related to the cultivation of calligraphy, and now there are so-called ugly books, which are very unsightly. But the artistic value is not necessarily low, just like the appearance of people, whether they are beautiful or not has nothing to do with the value of people.

Zhao pursued the style of the two kings all his life, and his skills were profound. The so-called learning Zhao is easy to learn and difficult to learn.

I also think Zhao Mengfu's handwriting is very beautiful. But in my opinion, everyone's evaluation is very high, in the Yuan and Ming dynasties, he was a banner.

Zhao Ti is known as one of the four regular scripts, but also a strange in the history of calligraphy, Zhao Mengfu's characters are very beautiful as a whole, but the flexibility is too high, if there is no certain calligraphy skills, then you will only write Zhao Ti flattering. Traditional Chinese culture emphasizes neutrality. In fact, people are still more recognized for Zhao Ti, and many new calligraphers can start from Zhao Ti, because the structure of Zhao Ti characters is very easy to master, but it is not suitable to practice more.

Enough is enough.

Zhao Mengfu's calligraphy is rigorous, the font is beautiful and elegant, his calligraphy strokes are rounded, the structure is upright, rigorous, steady and graceful, fluent and neat, and it is practical and easy to learn. Yan Zhenqing, Ouyang Xun, Liu Gongquan and Zhao Mengfu in the Tang Dynasty are called the "four masters" of calligraphy in China.