Recently, a piece of news caused heated discussion "Henan Zhoukou Taihao Visitors to the Fuxi Mausoleum Scenic Area lined up to beat the kneeling statue of Qin Hui in the Yue Wuzhong Temple, and some even beat him with his shoes. "Although this has been a common occurrence since the kneeling statue was cast, Qin Hui's "beating" has been particularly violent in recent times. This is Because of the popularity of the movie "Man Jiang Hong".
Yue Fei's "Yu Tongpan Bachelor's Book"
Yue Fei has always been a representative figure of the "God of War" and "National Hero" in the military; in literature, his song "Man Jiang Hong·Wu Huai" is also an eternal masterpiece. But many people don't know that he also occupies a place in the history of calligraphy. Many people firmly believe that "words are like the person they are", and the calligraphy of "national heroes" can further prove this point of view. Let's take Yue Fei, Wen Tianxiang, Huang Daozhou, Lin Zexu, and Zuo Zongtang as examples to see how they "unruly" in the calligraphy world.
Yue Fei's "Mourning the Ancient Battlefield"
Yue Fei's calligraphy is mainly cursive, and he mainly learned it from the "Four Schools of Song Dynasty", mainly Su Shi. His calligraphy works such as "Yu Tongpan Bachelor's Book" are extremely classic and are recognized as being written by him, unlike "Back and forth Chu Shi Biao" which was regarded as a forgery. The horizontal strokes in this work are knotted to the upper right, similar to Su Dongpo's. The strokes are vertical and smooth, the knots are varied and natural, and the composition is simple, majestic and gorgeous, and even continues the "shangyi" spirit of literati calligraphy.
Wen Tianxiang's "Preface to the Collection of Wooden Chicken"
Wen Tianxiang was a "national hero" who defended his country and resisted the Mongol invasion in the late Southern Song Dynasty. He was also the ancestor of Wen Zhengming, a great calligrapher in the Ming Dynasty. Needless to say, the calligraphy of Wen Tianxiang, who was born in the imperial examination, was praised by contemporary scholar Fang Ailong in "History of Calligraphy of the Southern Song Dynasty" for his "slender calligraphy and painting, delicate and lean appearance, and handsome and heroic posture." "Preface to the Collection of Wooden Chicken" and "Xie Changyuan" "Self-Warning Speech" is his representative work.
Wen Tianxiang's "Preface to the Collection of Wooden Chicken"
Wen Tianxiang is good at cursive calligraphy. Qing Dynasty calligrapher Ruan Yuan's "Shiqu Essay" records: "(Wen Tianxiang's) calligraphy is extremely imitative of Huaisu." It can be seen that his cursive calligraphy came from the Tang Dynasty. The strokes are quick and sharp, the strokes are sharp, the entrance is sharp, and the left and right sides are open. The works are full of energy and wonder.
"Ode to Filial Piety Sutra" by Huang Daozhou
Huang Daozhou's reputation is relatively weak. He was a fighter against the Qing Dynasty in the late Ming Dynasty. After he died heroically, he was posthumously named "Zhonglie" by Nanming. Even Qianlong praised him as "a perfect man of his generation" and gave him the posthumous title "Zhongduan". Sha Menghai praised him: "The only calligrapher in the Ming Dynasty who can win the seat of Wang Duo is Huang Daozhou." He can write in both Xing, cursive and regular script. The "Ode to the Classic of Filial Piety" in small regular script that has been handed down from generation to generation is a classic. He adopted the method from Zhong Yao, Wang Xizhi and others. It is quite similar to Wang Xizhi's regular calligraphy. The strokes are round and concise, yet rough and clumsy. His abundant bone strength is evident everywhere, and he would rather break than bend like a person. Wang Wenzhi, a calligrapher of the Qing Dynasty, commented: "The regular pattern is as charming as the King of Bells."
Lin Zexu's "Linhuangfujun Monument"
Lin Zexu, who "smoked the opium in Humen", and Zuo Zongtang, who regained Xinjiang, are examples of literati calligraphers in the late Qing Dynasty. They learned from Ouyang Xun, Yan Zhenqing and other regular calligraphers of the Tang Dynasty, and were also influenced by the Guange style calligraphy style, namely Zhao Ziang, Wen Zhengming , Dong Qichang’s influence. Lin Zexu is a great scholar of "Ou Kai", and his "Linhuangfujun Monument" has the essence of Ouyang Xun in terms of its rigorous writing style and dangerous and strange knotting.
Zuo Zongtang’s calligraphy
Zuo Zongtang's calligraphy and painting are full of strength, elegant and steep in structure, sparse and dignified in layout, and still retain the meaning of Wei stele. As people commented at the time: "Zuo Wenxiang's calligraphy is clear and honest, and the Beibei stele is also close to the tip of the pen, so it stands solemnly and vigorously." That is to say, Zuo Zongtang learned the essence of calligraphy from Beibei, Yan Zhenqing, and Liu Gongquan, and he can be called a master.
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