Dong Qichang's Essay on Painting Zen Rooms in the Ming Dynasty said that he learned from Zhong You's Show Table, "Every pen must twist its pen and sink into a bundle instead, so-called writing should be through the back of the paper". He wrote a thousand words.
He said in Qing Dynasty: "Pens and pens come from the air and live in the air. Although there are leaks in the house, it is not enough to say. " . When we read his ink painting "Thousand Characters" carefully, we can see that he hides his head and protects his tail, and his brushwork is tortuous, subtle and rhythmic. Dong and his words can be described as accurate, specific and appropriate.
Zhiyong inherited the perseverance of his ancestors in studying books, and has the saying that "it is safe to be buried". Legend has it that Zhiyong lived in Yongxin Temple for 30 years, lived in seclusion and devoted himself to calligraphy every day. He prepared a stony number, and when his handwriting became bare, he replaced it and threw it into the basket. Over time, I have accumulated ten big scorpions. He dug a deep pit in front of the door, buried these pens in it, and built a grave called "Return Pen Grave".
Zhang Huai's "Broken Book" in the Tang Dynasty said that Zhiyong "gets half the meat of the right army, can do anything, and is the best in the grass." The atmosphere is dangerous in Europe, and it is good at being thin in sheep. "
Song Sushi's "Dongpo Inscription and Postscript" says: "The book of the Zen master is a book with a solid backbone, a Miaomiao physique and superior ability, and it is rare to write it back. If you look at Peng Taoze's poems, if you don't accept them at first, you will know their strangeness. "
Mi Songfei's "Famous Sentences of Haiyue" said: "Zhi Yonglin's" Collection of Thousand Articles "is beautiful, and it is prepared on all sides." Xuan He Shu, compiled by the Song people, said that Zhi Yong was "full of brushwork, true in grass and ancestral".
Comment on Ming Du Mu's Implication: "Zhi Yong's" True Grass Thousand Characters "is full of charm, and it ranks first in the world."
Jie Jin's Miscellanies of Spring Rain in the Ming Dynasty said: "There is no good book in the world, but wisdom can never learn the law."
In the Qing Dynasty, He's "Stone Postscript of Dongzhou Caotang" said that Zhi Yong "pens and pens fall from the air and live in the air, although there are still leaks."
The original works of Zhi Yong's calligraphy include true grass thousand-character script, regular script thousand-character script, Guitian Fu and so on. Among them, "True Grass Thousand-character Text" is the most, with as many as 800 copies, which have been circulated so far. It can be seen that there are two books, which are precious.
Today's True Grass Thousand Characters is a scroll of paper and ink, which is collected by the Japanese Nana Ogawa Jianzhai family. Fan Wen has 200 lines, which is incomplete. The book does not avoid the taboos of the Sui and Tang emperors, and some characters are different from those handed down from the Tang Dynasty, such as "Zhao" and "Lu" in later generations. According to the examination, this volume was introduced to Japan in the Tang Dynasty and recorded in the donation account of Toda Temple in Japan.
Yang Shoujing and others thought it was Tang Linben. In terms of calligraphy, this post has the charm of the Six Dynasties and is very artistic. Today, it has a photocopy. In addition, there is a thousand-character engraving of real grass, and Ugly Song Daguan (1 109) is engraved in Xi 'an, Shaanxi, also known as "Shaanxi Ben". There are eight stones, each line is twelve words, and the original stone still exists in the forest of steles in Xi 'an. It is said to be "quite exquisite, without resentment". Among them, the words "people" and "base" in the Tang Dynasty are all missing.
Regular script has vigorous brushwork, dignified structure, clear starting and ending traces of strokes, and is full of changes in reality and reality.
Zen master Zhiyong, an educational disciple, was instructing a little novice monk to practice calligraphy in his later years. Several young scholars came to the temple to ask the master Mo Bao for writing skills. It is not difficult to give a word with a smile, but there is no secret. However, I can give you four words: "study hard and practice hard." If you can persist, you will benefit for life. The scholar was very disappointed. Master Zhiyong patiently enlightened them: As the saying goes, "Perseverance can open the stone." That is to say, taking the ancestors of the old woman, Gong Xian, as an example, Gong encouraged himself with the story of Zhang Zhi's "writing in the pool, and the water in the pool was all black" in the Eastern Han Dynasty, and practiced hard all his life. Washing inkstone has been dyed in Lushan Guizong Temple, Linjiang New City, Jiankang Zhongshan Mountain, Zhejiang Jigu Mountain and Yinshan Wuliu Pool. The donated public school books have used up 18 buckets of clear water, and the old woman's reading books have achieved today's achievements through hard study and hard practice.
After listening to this, scholars don't believe it. Master Zhiyong ordered the young monk to open the backyard and lead them to Tallinn in the temple. There is a high grave under a leafy tree. The scholar was puzzled, and the Zen master pointed to the tomb and said, "I have been studying all my life, and this is where I practice calligraphy and polish my head." There is a stone tablet in front of the tomb, engraved with the words "Return to the tomb", followed by the words "Monk will stand forever" and the epitaph written by Zhiyong. Scholars were surprised to see a huge grave filled with bare pens. Little novice monk told the scholar that the bald pen written by Master was originally packed in five baskets. In order to practice calligraphy well, I have lived in a temple cupboard for many years, and I have written more than 800 copies of "True Grass Thousand Characters" and distributed them to temples in eastern Zhejiang.
After listening to this, the scholars suddenly realized that Zhiyong was right. "The blade comes from sharpening, and the plum blossom is bitter and cold." There is no shortcut or secret to reach the peak in any academic field. Only by studying hard and practicing hard is the only way.
I admire the calligraphy of Naizu Wang Xizhi and Wang Xianzhi, and I am determined to make Naizu's calligraphy immortal. Zhiyong practices calligraphy very hard. When he was in Yongxin Temple, he once built a small building to practice calligraphy, vowing that "if the book fails, he will not leave this building". In this deserted small building, he practiced calligraphy selflessly and spent one stroke after another. He often throws his worn brush into the big urn. Over time, he has accumulated several urns. Zhiyong later buried these brushes in a place and buried them with his own inscription, which was called "returning the pen to the tomb".
After twenty or thirty years of hard work, Zhiyong's calligraphy has really made great progress. His fame is getting bigger and bigger, and there are many people who ask him for originality, so that he can never cope with it, so that "the case is accumulated and the dust falls." There are many people who come to consult, and his outdoor space is often full, and even the threshold is trampled. Zhiyong wants to reinforce the threshold with iron sheets, which is called "iron threshold". This "returning the pen to the tomb" and "the iron sill" have become a much-told story in the book circle, which complements Korea's "pool full of ink" and is a beautiful talk through the ages.
People's evaluation positively evaluates the thousands of words, calligraphers and calligraphy works of Zhiyong Song Tuo in the past dynasties. Lean Xue Shiyun: "Zhi Yong brilliantly inherited the family law and became a master of Confucianism in Sui and Tang Dynasties"; Du Mu's Implication Compilation said: "Wisdom and courage are true grass, with thousands of original works, flying in the air, surpassing God, ranking first in the world"; Xie Jinyun said, "The snow crane stands tall and stands high": Xu Wei's "On Nine Scholars" said that "the wisdom is grass and the quality is below"; The Book of Xuanhe, compiled by the Song people, said that Zhiyong "has a vertical and horizontal brushwork, which is both true grass and strong ancestral style". (Tang) The Broken Book says: "The ancestor of wisdom and courage is (Shao Yi, Wang Xizhi's word), who is good at calculating calendar and taking neat pictures, and is really careless. Liang, Hai Heping, Tao (calligrapher) has a simple style, half of which is the flesh of the right army (the right army refers to Wang Xizhi). Grass had better be able to do all kinds of things at the same time. The lower atmosphere is Ou () and Yu (Yu Shinan), but he is good at Taiyang (Yang Xin) and Bo Shaozhi. " Zhang Huai divided ancient and modern calligraphers into three categories: spirit, wonder and ability. Zhiyong's running script is an excellent product, and Li Shu, Cao Zhang and Cao Shu are all excellent products. It can be seen that Zhiyong's calligraphy achievements have reached a quite high level.
On the other hand, some scholars believe that Zhiyong's calligraphy inherits Wang's family style and lacks innovative spirit. For example, Li Simiao's "Later Book" thinks that "it is clever and brave, but there is no wonderland". In this regard, Su Shi's "Dongpo Inscription and Postscript" has another cloud: "The Zen master's book is deep and steady, and the body is wonderful and unique. For example, if you look at Tao Pengze's poems, you will know their curiosity if you don't accept them at first. " Su Shi added: "Zen master Yong wants to preserve the typical king, thinking that there are hundreds of methods, and he can't use the old methods without bringing forth the new and seeking transformation." But its meaning has been divorced from the rope ink. It is almost impossible to talk about Europe and the dangers under the dark clouds. If you doubt his imitator again, you will be under this theory again. "
Su Shi's statement does have some truth. Zhiyong's ambition is not unique, but to spread Naizu's calligraphy to future generations. During his stay in Yongxin Temple, Zhiyong wrote 800 thousand-character essays of Wang Xizhi (Wang Xizhi didn't have any thousand-character essays before his death, but Yin wrote them with Wang Xizhi's ink collected in the palace, and later edited them into rhymes), and distributed them to temples in eastern Zhejiang to spread the calligraphy of his ancestors by the power of Buddhism.
The historical commentary Emperor Yang Di said: "Wisdom always leads to the flesh of the right army, and wisdom gains the bones of the right army."
Zhang Huai's book "Broken" said: "Wisdom is eternal, ancestors are few, and calendars are experts. It is true that grass is only life and the sea is peaceful. " Shang Wei has the wind of pottery (Zhang Zhi), half of which is the meat of the right army. All kinds of bodies can be used, and the grass is the best. Europe and Europe have a low atmosphere and are good at being too thin. "
Mi Fei said, "Monks are wise and always write books. Although they are strong and healthy, they come in different sizes. For example, when they were fourteen or fifteen years old, they followed the rope ink and suddenly became more disciplined. "
Su Shi's "Dongpo Inscription and Postscript" says: "The Zen master has a long book, a deep and stable backbone, a wonderful body and superior ability, and it is rare to make a return. If you look at Peng Taoze's poems, if you don't accept them at first, you will know their strangeness. "
Dong Qichang's Essays on Painting Zen Rooms said: "Forever teachers imitate Zhong Yuan's Xuan Biao, and every time they use a pen, they will turn it around.
There are two kinds of words in Zhiyong's true book, so you can collect it calmly. The so-called method of writing through the back of paper gradually disappeared after the Tang Dynasty. Jie Jin's Miscellanies of Spring Rain in the Ming Dynasty said: "There are no good books in the world, but they are dedicated because of self-pity. However, the wisdom and courage to learn the law, calligraphy to Tang Fangsheng. "
He Ji Shao's Stone Postscript of Dongzhou Caotang in the Qing Dynasty once said: "In Zhiyong's Thousand Pieces, the pen fell from the air and lived in the air, although it was still silent."
In the Qing Dynasty, Feng Ban bluntly said in the Book of Songs: "There are many inauthentic Huangting (Wang Xizhi's lower case Huangting Classic) today, but unfortunately, the original works are not seen, and the calligraphy and painting are very steep, comparable to Yong's Qian Wen."
Du Mu's "The Voice Beyond the String" commented on his words: "Cao Zhen is brave, Qian Wen Zi is true, his charm is full of R, and his quality is excellent, ranking first in the world."
The collection value of Zhiyong calligraphy is very extensive. Song Yufu once collected three pieces of Zhiyong cursive script 10 and three pieces of real grass10. His "True Grass Thousand Characters" has been handed down to this day. True cursive script uses regular script to interpret cursive script, which is a brave creation. It is not only convenient for learners to interpret cursive script, but also allows people to appreciate his two schools of calligraphy at the same time, killing two birds with one stone.
The cursive script "Thousand Characters" written by Zen Master Zhi Yong was completely written by Wang Youjun Naizu, and inherited the cursive script statutes. However, this post has one word per grid, and each word is independent, so it is written in a well-organized way, unlike Naizu and Zhang Dian, who "dance with pen and ink" and echo each other. Zen master Zhiyong inherited Wang Xizhi's brushwork, but one or two strokes in each word specially increased his brushwork, indicating that Zhiyong's expression was focused and restrained when writing a book, and his brushwork was also round and harmonious. Zhi Yong's real book "regular script" in "True Grass Thousand Characters" is a running script, which is lighter than regular script. There are also double pens in each word of Zhiyong Xingkai, so the form of words is more vivid and elegant. After the Tang and Song Dynasties, most calligraphers like to learn from Master Yong Chan.
Zhiyong's calligraphy had a great influence on the calligraphy of Yu Shinan and others in the early Tang Dynasty. Shi Zhiguo, who was young at the same time as Zhiyong, was also Zhiyong's teacher. Zhiguo is also a monk in Yongxin Temple, engaged in calligraphy. It is said that Emperor Yang Di especially liked his books. He once said to Zhi Yong, "Monks get the flesh of the right army, and the country will get the bones of the right army." It means that Zhiyong's calligraphy is round, and Zhiguo's brushwork is not moist enough, but its strength exceeds. Zhiguo's running script and cursive script, and Zhang Huai's paragraphs are classified as functional products, which shows that Zhiguo is also a leader among calligraphers and monks.
His works influenced Zhi Yong, a true book with thousands of words.
His masterpiece has always been highly respected. True Grass Erti is a masterpiece handed down from generation to generation by Zhi Yong, and it is also a famous relic in China's calligraphy history. Chuan Zhiyong once wrote 800,000-word books, which are scattered all over the world, including a book of temples in Jiangdong. There are two kinds handed down from generation to generation: ink and block printing. Japan collects ink books, paper books and books. 202 lines, each line has a cross, which was originally collected by Gu and later returned to Yujiro. Then there are two postscript written by Yang Shoujing and Naito Hunan. Some people think that Moshu is the original work of Zhiyong, while others suspect that it is a copy of the Tang Dynasty. The rubbings of the Palace Museum. Influence on Japanese calligraphy: As early as the Tang Dynasty, Zhi Yong's Thousand-character Literatures spread to Japan in the East with naturalized monks and envoys sent to the Tang Dynasty, which had a great influence on Japanese calligraphy. There are two books handed down from generation to generation by Zhiyong. One is an ink book introduced to Japan in the Tang Dynasty, and the other is a stone carving book preserved in the forest of steles in Xi, Shaanxi Province.
There are only seven volumes of Xuanhe Neifu in the Northern Song Dynasty, and only one volume in the Southern Song Dynasty. Only the first two lines of the ink in the handed down "True Grass Thousand Characters" are broken, and the others are still intact; As for the missing part, it has also been completed according to Guan Zhongshu. The so-called "Guanzhong Edition" was carved by Xue in Daguan Guchou (A.D. 1 109) according to the original works collected by Chang 'an Cui Shi in the three years of Daguan in the Song Dynasty. Also called "Xiben Edition". Today, the original stone carvings still exist in the forest of steles in Xi 'an. It is said that it is "quite exquisite and has no resentment", which can be said to be a rare version, but compared with ink.
The influence on later generations is that in his later years, he wrote a four-character article "True Grass" based on the content of literacy class at that time, which is convenient for beginners to read and read. This kind of article has existed since ancient times, but the thousand-character writings of Liang Wudi and Zhou Xingsi in the Southern Dynasties are the most widely circulated, and many celebrities have written thousands of words and passed them down from generation to generation. Judging from the development of book history, the normative function of Zhi Yong's True Grass Thousand-character Works surpassed the influence of Xiping Book of Songs, which was circulated as a book in Cai Yong in the Eastern Han Dynasty.
The role of True Grass Thousand Characters is rigorous and meticulous, and its cursive script is divided into different characters. It is good at this, elegant and ancient, and its books are warm and beautiful. In Song Dynasty, Mi Fei's "Famous Sentences of Haiyue" commented: "There are thousands of words of wisdom and courage, which are beautiful and vivid in all aspects." Another example is Su Shi's comment: "Fine can be achieved, but the return is sparse." This book represents the style of Wen Ya, a southern calligrapher in the Sui Dynasty, inherits and summarizes the structure and cursive style of the "two kings", and establishes its exemplary role in style.