Lu Jianzhi studied calligraphy from the south of the city, then from Ou Yangxun, and then copied Wang Xizhi and Wang Xianzhi. The cursive script is particularly quaint, and it has finally become a famous calligrapher, just like Europe and Chu. Gong is running a book. Good at copying, although it is "difficult to imitate, it is better to be arbitrary", but it has high achievements. At that time, some people called him, Europe, Henan and Chu as the four outstanding figures in the early Tang Dynasty (but generally speaking, the four outstanding figures in the early Tang Dynasty were Europe, Henan, Chu and Xue). Official script and running script are wonderful products, while cursive script is a functional product. His calligraphy works are rarely circulated, and his career is almost gone. Judging from the Preface to Lanting Collection handed down from generation to generation and the prose, the relationship between his calligraphers and Wang Shu is indeed in the same strain. Therefore, the concept of cursive script is quaint and the title is more important than the world.
Li Sizhen's "Post Book" pointed out that "Lu (Cambodia) learned from (Shi Nan) and Yong Zen Master (Zhi Yong), and both of them had their own methods." He also said, "Lu Jianzhi learned cursive and wrote" Shine on You "with a pen." . Wen Fu, ink book, no money. Lu Jianzhi's book was written by Lu Ji. Paper books, running books. According to Baodi in Shiqu, it is 26.6 cm long and 370 cm wide. The whole volume is *** 144 lines, accounting for 1658 words, including running script 1566 words and cursive script 92 words. The original is now in the National Palace Museum in Taipei.
The volume of appreciation of works is prefaced by the inscription and postscript of Erlu written by Li Dongyang in Ming Dynasty and Lu Jianzhishu written by Shen Du Lishu, but no paper is left, and the names have been lost, including \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \, Li Ya. The words "Yuan" and "Shi" in the post are omitted to avoid the taboos of the Tang emperors.
Lu Jianzhi's Wen Fu is the representative work of Lu Ji in the Western Jin Dynasty. Lu Ji is the ancestor of Lu Shu. With great reverence, Lu Jianzhi wrote the masterpieces of his ancestors, took Cambodia as a place to learn and tasted the great works of his ancestors, so he was called "Two Musts". This post contains the character of calligraphy, the expression is reflected, and the words are beautiful and round. Throughout the whole post, the structure is slightly restrained, the composition is rigorous, and the brushwork is elegant and smart. Obviously, Zhao Meng started regular script. Booksellers regard this book as a treasure and have always spoken highly of it.
Lu Jianzhi majored in Yu Shu. Although later theorists thought that he was not as good as his uncle, he asked Wang Xizhi for help, which was different from Shinan. From Lu Ji's book "Wen Fu", we can see that Lanting still has the charm of Jing Ya, but it only adds moist beauty. Look at his pen. When he started writing, he still had the dignity of regular script. No matter how he stippled, he entered the pen. It is neither too late nor too sick to write, which can not only polish up, but also be beautiful and not sluggish. Moreover, the pen is alternately clear, the front is properly closed, and occasionally it is returned. But it does not hinder the perception and echo between words. It is particularly noteworthy that the structure is different and extremely coordinated. Sometimes there is regular script, sometimes there is running script, and the steps are relaxed, graceful and mature, and sometimes there is cursive script, which is convenient and simple, and even Cao Zhang's brushwork can be seen occasionally. There are large and small glyphs, which are horizontal and vertical, patchwork and interesting, making people feel relaxed and sloppy, but they feel that Watson is between the lines. Beginners who are learning to run calligraphy have a lot of convenience from now on, which can be a transition from writing to writing. If you can study hard, its beautiful and moving book style and steady and smooth charm will give people many new territories.
The world commented on Li Simiao's Book Back, saying, "Learn cursive script, and use a pen to look at you." The most unique person, without anger, is pure and clear, and a calm and quiet temperament is fascinating.
Zhang Huai's book "Broken" said: "The nephew of Kamnan learned little from his uncle's family, so he wrote together and wrote together. Just like Zhang Yi changed the expression of Xi, Cai Yong is the back of Ping Zi. " Learning to be two kings at night, especially in ancient times, people were still timid in middle age. After the end of the general chapter, it was extremely simple and shameful to prepare the bones and muscles, so it exposed the flaws ... Although it was contemptuous at the time, it was not stupid to return. It was better to be a gentleman from the media. If you are good at writing, or if you are happy, you will be very interesting. ..... but it's better to follow the trend than to be arbitrary, which is the minimum. "
Zhu Zanqi's book says: "The meaning of an ancient pen is old, like leaning on a valley and a wild crane is empty."
Tao's "Book History Society" says: "Cambodia learns less from its uncles, writes more, and is good at making a late reputation. So it will be forced to make sacrifices and put pen to paper, which is a shameful flying habit. For example, the horse is untidy, and people are not eager to see it, but people who browse may not know its advantages. However, there are limits to talent. Cambodia is a slave, it is wonderful, and Cao Zhang and cursive script can enter.
Xiang Mu Yun: "I have tasted his book Preface to Lanting Collection, which is nothing but the right army, at least elegant and smooth."
Liu Ji wrote an inscription in the book Wen Fu: "The words of Lu Jin and the book of Tang Lu are both beautiful."
The main work "Preface to Lanting Collection"
Preface to the Collection of Five-character Lanting was written by Lu Jianzhi in Tang Dynasty. Handed down from ancient times, there are ink marks and rubbings. The first line is entitled "Preface to Five-character Lanting Collection Lu Jianzhi Book". Ink quantity, * * * 27 lines. After the volume, there are gold seals such as Ruisi Pavilion in the Southern Song Dynasty and inscriptions such as Li Rihua in Xihongtang Post. There is Wen Ya in calligraphy, which is very similar to Eight Columns of Preface 2 of Lanting Collection and Chu Moran Pavilion. There are photocopies for the world. One is green linen paper with the words "Lu Siyi (Cambodia) book" on the back. There are also inscriptions of Tang Tianfu (90 1-903) and Song people. Ink has been lost, and the Shanghai Library now only has rubbings such as stone carvings in the Southern Song Dynasty.
Wenfu
Wen Fu is a scroll of paper and ink, and it is one of the few masterpieces in the early Tang Dynasty. This is a work written by Lu Jianzhi, because "Wen Fu" is a masterpiece of Lu Ji's painstaking efforts, and Lu Jianzhi is a descendant of Lu Ji, so Lu Jianzhi wrote "Wen Fu" with great reverence. It is said that when Lu Jianzhi was young, he read Lu Ji's Wen Fu, so he fell in love with it. He wants to write one himself. He was afraid that he would "disgrace" his predecessors' masterpieces because of his poor calligraphy skills. He didn't dare to write rashly until his title was brilliant in his later years.
The composition and charm of Wen Fu's ink painting are more from Wang Xizhi's learning. The book 144 lines, 1658 words. The fonts are mainly block letters and running letters with cursive characters in the middle. Although it is three purposes, it is natural to take care of it from top to bottom, wait and see from left to right, and cooperate tacitly. The pen is round and sharp, showing a peaceful and simple artistic conception. The brushwork is vertical, without stagnation, superb and handsome, and won the charm of Jin people, which shows the deep foundation of Lanting. Xie Xisi, a calligrapher in the Yuan Dynasty, once commented on this post: "The book" Wen Fu "is a volume, and the calligraphy in the Tang Dynasty is vigorous and powerful, with the style of Jin people, but I only look at this volume. Although Sui monks are wise and brave, they still hate being too charming and neat. Loneliness is a sigh in this book. Yuan spoke highly of this, saying: "Lu Jianzhi's calligraphy and prose were original works in the right Tang Dynasty, and the person who was good at calligraphy in the early Tang Dynasty was called Ou Yu. As far as calligraphy is concerned, he is the fourth son. "However, it has few traces in the world, and those who know it like it" (Zhao Meng's postscript to Wen Fu). Zhao Meng once studied this post and learned the brushwork and knot method of Jin people, which benefited a lot. Sun Chengze wrote a postscript in Chinese ink, saying, "Zhao's calligraphy in his later years was vigorous and forceful. People seldom read Si Jian's books, so they didn't know what they were talking about."
There are many clues in this volume, such as "Yuan" and "Shi", Li Ya, Jie Tu, ?⑽ K, 亍⑺⑺12. After pasting, there is no paper and the title is lost. Before the volume, there are Li Dongyang's title "Erlu Hanwen" in Ming Dynasty and Shen Du's official script "Lu Jianzhi's Literary Fu on Lu Ji". The original work entered the Forbidden City in the Qing Dynasty, then was hidden in the Palace Museum in Beijing, and is now in the National Palace Museum in Taipei.