Chinanews Client Beijing, September 24th (Reporter Shangguanyun) This year, the Forbidden City is 600 years old.

It is old and young. Today's Palace Museum is constantly "circling fans" with various wonderful exhibitions and activities.

  Recently, in an interview with a reporter from Chinanews.com, Zhu Yong, a well-known author and current director of the Palace Museum's Cultural Communication Research Institute, talked about the popular exhibition "Eternal Lovers-Special Exhibition of Su Shi's Paintings and Calligraphy in the Palace Museum Collection". Su Shi's "Circle of Friends" also talked about his new book and the stories about the Forbidden City for many years.

Writer Zhu Yong.

Photo courtesy of Century Wenjing

Writing, Painting and Painting: What are the characteristics of Su Shi's calligraphy?

  In recent years, the increasingly "younger" Forbidden City has attracted countless audiences through exhibitions.

The ongoing "Charm of Eternal Love-Special Exhibition of Su Shi's Painting and Calligraphy in the Palace Museum Collection" is undoubtedly one of its recent hot exhibitions.

  Su Shi (known as "Su Dongpo" in the world) is a famous writer and artist in ancient China. He not only writes well in poetry and essays, but also has profound knowledge in calligraphy and painting.

Zhu Yong described it as: Su Shi is a very important existence in the history of Chinese calligraphy, like a "boundary monument."

  "Su Shi's calligraphy was pioneering in the Northern Song Dynasty. A characteristic of calligraphy in the Tang Dynasty can be said to be rigorous, such as Ouyang Xun's "Jiucheng Palace Liquan Inscription" that we are familiar with. Many people today like to copy calligraphy. This work is characterized by its very rationality, rigorous structure, well-proportioned strokes and strict rules.” Zhu Yong explained.

  In the Song Dynasty, Su Shi even admired the natural beauty of calligraphy, which was natural and plain.

Zhu Yong analyzed, Su Shi's most famous sentence on calligraphy is "I can't make calligraphy." He believes that "meaning" outside the law is the soul of calligraphy.

  "As a result, coupled with his life experience and literary and artistic accomplishments, calligraphy has been elevated to the level of writing life emotions and life concepts. We can not only see the techniques and procedures, but also see in his calligraphy works. The flow of his emotions." In Zhu Yong's view, Su Shi did not regard calligraphy as an isolated art, but had an important connection with his own life and emotions.

  He believes that the calligraphy works of Su Shi on display at the "Su Shi Exhibition" in the Forbidden City are very interesting and worth seeing, such as "New Year's Exhibition Celebration Posts" and "Ren Laide Calligraphy Posts" created during the Huangzhou period.

Data map: The picture shows the combined volume of Su Shi's "New Year's Exhibition and Celebration Posts" and "Ren Laide Shu Posts".

Photo by China News Agency reporter Du Yang

  "The Huangzhou period was a low ebb in Su Shi's life, but it was also this low ebb that allowed him to mature in art, so this period can also be said to be the period with the highest achievements in Su Dongpo's calligraphy art." Zhu Yong said. In the second exhibition, there is also an early work by Su Shi, "Zhiping Tie", written at about 30 years old. Together, you can see the development of Su Shi's calligraphy in the early and mid-term.

A great writer's circle of friends

  What's more interesting is that this exhibition also reveals Su Shi's "circle of friends" from one aspect.

  The era when Su Shi lived was an era when great cultural masters emerged.

His predecessors with whom he had in-depth contacts, such as Ouyang Xiu and Wang Anshi, are all renowned literary and historical masters.

  "He had a very wide range of friends, including celebrities and celebrities, but also traffickers, such as the owner of a wine shop, a drug seller in the West Market, etc." Zhu Yong explained that Su Shi had a very good relationship with many literati and celebrities at the time, except Teacher Ouyang Xiu and others, as well as students Huang Tingjian, Qin Guan, etc., are all celebrities we are very familiar with today.

  Su Shi and Huang Tingjian are both teachers and students, and they are also very good friends. They respect and appreciate each other in calligraphy.

Zhu Yong mentioned a story: Su Dongpo's characters are horizontal and Huang Tingjian's characters are "vertical". The two people often joked with each other and mocked each other's characters.

Su Dongpo said that Huang Tingjian's characters are like snakes hanging on the treetops, and Huang Tingjian said that Su Dongpo's characters are like stone-pressed toads. After speaking, the two of them laughed together.

  Zhu Yong said, for example, the "New Year's Exhibition Celebration Posts" and "Ren Laide Posts" in this exhibition were written by Su Dongpo to his good friend Chen Jichang. "Chen Jichang is the allusion to the'Hedong Lion Roar' that everyone knows. Here, the protagonist who is afraid of his wife."

  Chen Jichang and Su Dongpo are from the same hometown, and the two families can be said to be the friendship of several generations. In the "Song History", it is said that he "makes wine a good sword, and uses money like dung."

  "Su Dongpo once wrote "The Biography of Fangshanzi" for him: Su Shi came to Chen Jichang when he was demoted to Huangzhou, and Chen Jichang invited him to his home as a guest. When Su Dongpo came in, he saw that although the Chen family was disciple, his family members were all happy and content. Su Dongpo appreciates Chen Jichang's indifferent and unrestrained temperament." Zhu Yong said.

Writing the Forbidden City documentary to reproduce the history of cultural relics moving south

  The reason why I am very familiar with Su Shi's artistic achievements and the exhibitions of the Forbidden City is that Zhu Yong has been writing about the Forbidden City and the culture of the Forbidden City.

Book cover of "Write the Whole World in the Forbidden City".

Photo courtesy of Century Wenjing

  In 2000, he began to focus on the Forbidden City.

At that time, I happened to be the chief writer of a documentary about the history of Beijing. "At that time, I compiled some of my feelings about visiting the Forbidden City and wanted to write a book."

  Almost out of control, he paid more and more attention to the Forbidden City, and related works continued to be published, such as "The Old Palace", "The Six Hundred Years of the Forbidden City" and so on. The content also involved the history and collection of the Forbidden City.

  Some time ago, Zhu Yong flipped through the text written over many years, "From the first paragraph to the final writing, these texts spanned more than 20 years, which is still very rare. For more than 20 years, it has almost accompanied me. The journey of writing."

  These words were compiled and published as "Writing the Whole World in the Forbidden City".

Zhu Yong described that this is the longest book he has written so far. The text can truly reflect the creative process and inner feelings of so many years. "It's not about insisting on writing, but like writing."

  Today, Zhu Yong is currently preparing to shoot a documentary about the southward migration of the Forbidden City in 1933.

  "During this period of history, there are many cultural relics in the Forbidden City that are urgently packed. For example, 10 stone drums from the pre-Qin period, which Kang You praised as China's first cultural relic, are also facing the problem of relocation." Zhu Yong said, the cultural relics of the Forbidden City South The relocation can be said to be a very important event in the history of the Palace Museum.

In February 1933, 19,816 boxes, 72 bags, 15 pieces and 13 ties, cultural relics including documents, archives, books and ancient books moved south in batches at the critical juncture when the Japanese army broke through Shanhaiguan.

  In his eyes, these cultural relics were moved westward to Sichuan in batches after they temporarily existed in Nanjing, and they were all transported back to Nanjing after the victory of the Anti-Japanese War, with almost no loss. It can be said to be a miracle in the protection of human cultural heritage in history.

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