1. "The heart is upright and the pen is upright"
"The heart is upright and the pen is upright" was Liu Gongquan's euphemistic advice to Emperor Mu Zong of the Tang Dynasty. The meaning of this famous saying can be understood from the following two aspects.
First, let’s analyze the relationship between personality and calligraphy from an ethical perspective.
Confucianism attaches great importance to ethics and morality. In the cultural coordinates of Confucianism, calligraphy is regarded as a "mind study". Liu Xizai's "Yi Gui" says: "The old books are also the Xin Xue." This origin comes from the Han Dynasty. Yang Xiong's "Dharma Preface: Asking the Gods" says: "Words are the voice of the heart; writing is the painting of the heart. The voice and the shape are what a gentleman and a villain can see. The voice and painting are what a gentleman and a villain are so emotional!" Yang Xiong saw " "Book" communicates with the inner world. A gentleman can express beauty from the "inner painting" of "book", and a villain can also show his true face in the "inner painting". During the Three Kingdoms period, Zhong Yao also said in "Bi Fu": "The person who writes the handwriting is the world; the person who flows the beauty is the person." Liu Gongquan enriched and developed this idea. His theory of "the heart is correct and the pen is correct" uses a new proposition to connect the relationship between personality, ethics and calligraphy. It is not only a portrayal of this giant calligrapher in the Tang Dynasty, but also a successful "pen admonishment" and received a certain kind of effect. This aroused great interest and praise from later generations of literati. Su Shi of the Song Dynasty once said in a poem: "When there is an urgent need to pass on the family law, and you want to see the sincerity of pen and remonstrance." ("Liu's Two Nephews Ask for Handwriting") Zhao Yan's poem of the Yuan Dynasty said: "You Jun once wrote "Changing Goose" "Sutra", Zhu Mixian's writing has a clear character. Seeing that Liu Gong's heart is in the right place, his advice has been well-known for thousands of years.
Not only that, but later generations further elaborated on this theory. Xiang Mu of the Ming Dynasty once excavated the calligraphy order of "Zhengxin, Zhengbi and Zhengshu" from "Zhengxin, Zhengbi and Zhengshu", and believed that "Zhengxin" should be "sincerity", "knowledge" and "investigation of things". Then through "practicing diligently" and achieving "advanced study", calligraphy can produce new, wonderful and strange ideas (see "The Elegant Words of Calligraphy: Heart"). There is "mind science" in the history of philosophy. Lu Jiuyuan of Song Dynasty and Wang Shouren of Ming Dynasty both regarded "heart" as the origin of all things in the universe, and proposed that "the study of saints is also the study of mind, which was taught and received by Yao, Shun and Yu." Xiang Mu believes that calligraphy is also a The logical starting point of this process of "mind learning" should be the "right heart", and ultimately it will reach the "kingdom of freedom". Liu Xizai of the Qing Dynasty also said: "Books are like that. Just like their learning, their talents, their ambitions, in short, they are just like their people." "The first task." ("Art Introduction") These are all closely related to "the heart is right and the pen is right".
"The heart is right and the pen is right" emphasizes the calligrapher's character cultivation, and later generations often use character quality as one of the criteria for judging calligraphy. Su Shi said: "Master Liu's words are correct and his writing is correct. He is not only sarcastic and admonishing, but also reasonable. Although the villain of the world is skilled in calligraphy, his expression always has the attitude of Sui Xu, who does not know the feelings of others and sees them casually. Is it true that Han Zi said that he was a person who stole an axe? But if people see his book and still hate it, then they will know it." ("Dongpo Postscript") Therefore, Cai Jing, a powerful traitor in the Song Dynasty, was excluded from the book. Outside the home, because of his despicable character. From a creative perspective, this proposition profoundly reveals the complex and subtle relationship between calligraphy and the calligrapher's inner world. It is also the externalization and expression of the calligrapher's personality in calligraphy. From this we can also see the calligrapher’s mentality and make an appropriate evaluation of his works.
The second step is to analyze the calligraphy techniques themselves.
When the hair falls off the paper, it is not afraid of being incorrect, not afraid of carelessness, superficiality and trance, it is naturally calm." In fact, not only Liang Tongshu, but as early as the Song Dynasty, Jiang Kui said in the "Using the Pen" section of "Xu Shu Pu": "The heart is straight. "The pen is straight" and "the intention is in front of the pen, and the words are behind the heart" are both famous sayings. Zhou Xinglian of the Qing Dynasty once said in "Linchi Guanjian": Liu Gongquan said, "A correct heart means a correct pen." If the pen is straight, the front is easy to straighten, and the center is the straight front. He added: "The ancients said that when the heart is righteous, the Qi is calm, when the Qi is stable, the wrists are active, when the wrists are active, the tip of the pen is filled, and when the pen is filled with ink, the ink is concentrated, and the concentration is like nourishment. Without intention, it is all intention, and if there is no law, it is all law. This is just a matter of innate effort, which saves a lot of words, thoughts and suggestions. It is said that everything is done in one go. "These are all derived from techniques, and it is not unreasonable to comment on them. But its importance is not as important as the "character" theory.
2. Aspects of "Yan Jin Liu Gu"
The predecessors commented that Yan Zhenqing's characters are mostly "jin", and Liu Gongquan's characters are mostly "bone", so there is a saying of "Yan Jin Liu Gu".
Fan Zhongyan of the Song Dynasty wrote an edict to Shi Manqing: "The pen that prolongs life is the bones of the willows and bones."
"Gu" refers to the strong and powerful characters and the strong momentum. Mrs. Jin Wei's "Bi Zhen Tu" says: "Those who are good at strength have many bones, and those who are not good at strength have many flesh. Those with many bones and little flesh are called sinewers, and those with many flesh and little bones are called ink pigs." There are many theories on "bones" in the history of calligraphy. "Those. To use "a point like a falling stone" as an example, it means that a point must condense the power of the past movement. This power is the expression of the artist's heart, but it is not tense, but both powerful and delicate. This is called "bone" . Zong Bai Huayun, a modern esthetician, said: Bone means that the ink and ink on the paper are powerful and prominent, exerting a force from the inside. Although it does not talk about perspective, it can have a three-dimensional sense and produce a moving force on us. "Aesthetics and Artistic Conception".
"Steel" has multiple meanings. It may refer to the edge of the pen, or it may refer to the connection of tendons and veins with momentum when writing with the pen hanging from the wrist. The tendons are also connected with the meat and are called "muscles". Yan and Liu both said that the distinguishing characteristics of the two are: Yan Shu has more muscles, but he is not boneless, and Yan Zhenqingshu also emphasizes bone strength; Liu Shu has obvious bones, but he is not without flesh, but just tends to be thin. But Liu Gongquan paid special attention to the bone method. The word "willow bone" can still be understood as:
(1) Bone strength. Liu Gongquan is most obsessed with the expression of bone strength, focusing on the center's movement against the trend, carefully protecting the head and hiding the tail, and focusing on focusing his spiritual power on the lines. He increased his wrist strength and straightened his strokes, such as "drawing sand with a cone" or "printing mud". His strokes were urgent, coming from the pecking, but also within the tightness of the vertical pen; The sharp strokes are made quickly; at turning points and when changing pens, the joints are mostly highlighted with square pens, or the hairpins are folded with round pens. Real calligraphers pay attention to bone strength. Yan Zhenqing said in "Review of Zhang Xu's Twelve Strokes" that "the (walking) pen (referring to the rapid movement of the pen) has muscles and bones in the stipples, and the fonts are naturally majestic" and so on. Many of Liu Shu's techniques were borrowed from Yan Shu. For example, some of his vertical brushes adopt the shape of a crossbow, and form an inward wrapping shape from left to right. His strokes also resemble the twists and turns of a silkworm's head and swallow's tail. Representation mode. However, Yan Shu's bone strength is hidden in his plump meat and is revealed from the meat; Liu Shu's bone strength is directly exposed from the lean meat, so it is called "Liu Gu".
(2) Bone body. Liu Gongquan's brushwork is exquisite. Accurate and rigorous, every "bone" in his character construction is impeccable, and the connections between the "bones" are meticulous. Yan Shu's character is heroic yet charming, broad-minded and upright; Ouyang Xun's character is charming yet dangerous, tight-knit and solemn. Liu Shu's body pursues a combination of elegance and strength. The bones of the characters are upright and straight, taking advantage of the slenderness; the center is tight and the outside is smooth; the body is open and stretched horizontally and vertically; the dot paintings reveal a delicate look, and the kicks and kicks are like strong hands and feet.
(3) Integrity. Liu Gongquan's calligraphy is made of strong bones and pure energy. There is a kind of steadfast power inside the upright bones and between the strokes, revealing a pure and healthy charm that transcends vulgarity. This is closely related to his aesthetic taste, knowledge, and cultivation. It is the result of his long-term tempering and is bred from his flesh and blood soul.
"Yan Jin Liu Gu" not only summarizes the main characteristics of Yan style and Liu style, but also represents the most typical regular script of Tang Dynasty. If the development of regular script is used as a metaphor, "The buds sprouted in the Han and Wei dynasties, the trunk grew in the Jin and Jin Dynasties, the flowers bloomed in the Six Dynasties, and the Sui and Tang dynasties established their roots" (Ding Wenjun's "The Essence of Calligraphy"). Yan Ti and Liu Ti are the two biggest achievements. Viewed from the same place, both Yan and Liu Zhishu emphasize strong bones and the spirit of a great man, which are all traces of the atmosphere of the prosperous Tang Dynasty in calligraphy. The beauty of the facial muscles and the beauty of the willow bones became the aesthetic standard of regular script in the Tang Dynasty. Before Yan and Liu, regular script favors Yan, while Yan Liu favors jian. The former favors elegance, while Yan Liu favors vulgarity. The former emphasizes the inner meaning of law, while the latter emphasizes artificial arrangement. ; The former is charming and graceful, while Yanliu is magnificent. This is the historical achievement created by Yan Liu.
When it comes to distinguishing between "Yan Jin" and "Willow Bone", the most common comment is that Yan is ranked above Liu. For example, Zhu Changwen's "Sushu Duan" of the Song Dynasty listed Yan Zhenqing as a "divine grade", followed by Liu Gongquan as a "wonderful grade". Feng Ban of the Qing Dynasty wrote "Buyin Shu Yao": "Yan Shu is better than Liu Shu". "Linchi Guanjian" by Zhou Xinglian of the Qing Dynasty said: "Yan Lugong's letter is the best, because it is full of natural interest, down-to-earth, and carries on the past and opens up the future. This is the best." The modern man Shang Chengzuo once said: "Ouyang Xun (Xinben) used his pen For example, Chu Suiliang (Dengshan) is more delicate and graceful, but less strong and suitable for small regular script, but not suitable for large characters.
Among the four, Yan Zhenqing (a minister of the Qing Dynasty) is the most versatile. His characters are evenly balanced, majestic and peaceful, and he can stand up no matter how big the characters are. Starting from him has no disadvantages or advantages. "("Calligraphy Experience Talk") It is true that the magnificent realm of Yan Shu is closely related to his magnificent life experience. In the context of the "An-Shi Rebellion", Yan himself was led by scholars - fighters - and led by the dynasty - foreigners. The extraordinary experience of deposing the dynasty made him have a deeper experience of life, a more refined artistic appreciation, and more artistic integration. Yan Shu is worthy of being "broad and profound"! Liu Gongquan is certainly not as good as Yan Zhenqing in these aspects. This is the reason.
Some people in the past criticized "Yan Jin" and "Liu Gu" in writings. Mi Fu of the Song Dynasty said: "Probably Yan Liu is the ancestor of the ugly and evil Zha. " ("Baojin Yingguang Collection") He especially disparaged Liu Zhizhengshu. Kang Youwei of Qing Dynasty said: "Yu, Chu, Xue and Lu passed down their legacy, and this was the only one in the Tang Dynasty. After the mid-Tang Dynasty, the Sect gradually became mixed, and there was no heir in later generations. Is this the reason why Yan and Liu Chouei were defeated? "Although the writing techniques of Ou, Yu, Chu, and Xue have not been completely destroyed, they are pure and simple, and the ancient meaning is vivid, and Yan and Liu's repeated playing has been torn apart!" "("Guang Yi Zhou Shuang Yi") and so on. There are two main points in criticizing Yan and Liu:
First, they denounce them as "vulgar". "Yan Jin" and "Liu Gu" have all been carefully arranged. The law is strict and the pursuit of artificial beauty is consistent with the Jin Dynasty, which used natural, lively, free and easy wind and spirit as the standard. One can see the "elegant" and the "vulgar", but the "shang vulgar" is related to the customs of the time and is easy for the people. Accept it. Bao Shichen of the Qing Dynasty said in "Yizhou Shuangji": "(Yan) plains are like plowing cattle, stable and beneficial to the people. "And "Liu is very good at calligraphy, so he started to learn it. "From the perspective of popularizing calligraphy, "Buyin Shu Yao" is beneficial to civilians and convenient for beginners to learn, so why not be "vulgar"!
The second is that "the ancient method died from this". Yan, Liu Since there is a reform, there will naturally be gains and losses; calligraphy will be truly killed when the ancient method is adhered to. The late Tang Dynasty Shi Yaqi's "On Calligraphy" is quite insightful about this: "Every book is subject to change. Wang changed to Baiyun style, Ou changed to Youjun style, Liu changed to Ouyang style, Yong Chan master, Chu Suiliang, Yan Zhenqing, Li Yong, Yu Shinan, etc. also obtained the calligraphy method, and later they all changed their styles to pass on to future generations. name. If the law enforcement does not change, even if he can penetrate a stone three points, he will still be called a book slave, and he will never be able to stand on his own feet. This is the essence of calligraphy. "This passage is a wake-up call for calligraphers or commentators who insist on "sticking to ancient methods."