Zhu Yong
"The Manuscript of Sacrifice to Nephew" is a manuscript of heart and tears. The text contains some extremely sad things. If our perceptual system has not become dull, then its words and sentences will sting our hearts.
After the passage of time, even though I was faced with a copy of "The Manuscript of Sacrifice to the Nephew", it could still be brought back to the writing scene of the year. Through the identification of the writing traces, the writing process at that time was "replayed".
In the volume of "Manuscripts for a Nephew" (partial), Yan Zhenqing added a line of small print to the correction.
Seven dips in ink
Contains thunderous strength
We can see that the full text of "The Manuscript of Sacrifice to Nephew" is nearly 300 words, but only seven times of dipping in ink.
Let's count:
The first stroke is dipped in ink, and writes: the first year of Wei Qianyuan, the year of Wuxu, September Gengwushuo, three days of Renshen, the thirteenth uncle silver Qingguang Lufu, envoys and military affairs of Puzhou...
The second pen is dipped in ink and writes: Puzhou Governor, Shang Qingche Duwei, Danyang (Yang) County Hou Zhenqing, the founder of Danyang (Yang) County.
Wei Er is born, Su Biao Youde, Zongmiao Hulian, Lanyu...
The third stroke is dipped in ink and writes: Every time it comforts people's hearts, Fang Qi Jiangu.
He Tu rebels provoked leisurely, calling the soldiers guilty...
The fourth pen is dipped in ink and writes: Your father is dedicated, Changshan is a county.
In the rest of the time, he was ordered to be in the plains.
My dear friend loves me, Bale rumored.
After you return to the end, open the earth door.
As soon as the earth gate was opened, it was fierce and mighty.
If the thieves do not save, the lonely city is besieged...
The fifth pen is dipped in ink and writes: Father trapped his son to death, and the nest is overturned.
God does not regret the misfortune, who is the poison.
Nian'er can be disabled, and there is no way to redeem it.
Ooh sorrow!
I inherit Tianze and move to Muhe Pass.
Those who compare with the spring will fall into Changshan again.
Bringing Seoul's first 榇, and hereby return.
Caress...
The sixth pen is dipped in ink and writes: Destroy, mourn the heart.
Fang Tongyuanri, Bu'er Youzhai...
The seventh pen is dipped in ink, and writes: Soul but knowledge, no long-term guest.
Ooh sorrow!
Still feast!
This is a manuscript about the heart and tears of blood. The text contains some extremely sad things. If our perceptual system has not become dull, then its words and sentences will sting our hearts.
Driven by this extreme grief, the pen in Yan Zhenqing's hand almost turned into a wild horse, running wildly in the wilderness without hesitation. All the bushes and all the traps were ignored.
Every time he dipped in ink, his writing became longer and longer, and more and more withered and altered, so that after "the father trapped the son and the nest fell over", he wrote nearly six lines in succession. It can be seen that his sad mood has been overwhelming. This passage is also the longest written in the entire "Manuscript for the Nephew". Although the strokes are getting thinner and thinner, even a line of small characters has been added in the correction, but it contains thunderously. The strength of the sky is like a light smoke, and it is like a huge mountain.
Messy brushwork
But unshakable solemnity
In "The Manuscript of Sacrifice to the Nephew", there are mourning for youth and life, lamenting for the broken mountains and rivers, and curses for the fanatics of war. Its emotions are so complicated that it is so complicated that Yan Zhenqing is not allowed to consider his calligraphy." Beauty", and as long as his inner emotions are pouring out.
Therefore, he wrote the most complicated text in the history of Chinese calligraphy. Not only its emotions are complicated, but also the writing method is complicated. If you look carefully, it contains not only running script, but also regular script and cursive script, which is a "cross-border" text.
Even in running script, there are endless changes in the flashlight.
Some strokes are obviously wiped out with the pen belly, but they are not thin, flat, thin, or dry. The thickness of the stipple varies greatly, creating a strong contrast effect of dryness, wetness, and dryness.
Today’s calligraphers have to consider layout, rhythm, brushwork, and a lot of messy things. Like an actor, he always considers which angle he looks best when shooting. In short, he always thinks about himself, not Consider the "role".
A truly outstanding writer does not consider the eyes of others, even himself.
As Su Dongpo said, "I have no intention of being in Jia Nai Jia Er".
Wang Xizhi wrote "Lanting Preface" after being drunk, and Yan Zhenqing wrote "Manuscript of Sacrifice to Nephew" in great grief. The reason why these signatures became masterpieces was because they had forgotten themselves when they were writing. I also forgot about "calligraphy".
Especially in this "Manuscript of Sacrifice to Nephew", Yan Zhenqing didn't even bother to write them "beautiful"—Let’s look at the first few words: Wei, Gan, Yuan, Yuan, Nian... They don’t look good, and even both There are disadvantages.
"The Manuscript of Sacrifice to Nephew" is beyond our knowledge of general law books.
It is not elegant, non-standard, and even untidy.
On the whole, "The Manuscript of Sacrifice to Nephew" is even more messy.
If the teacher in the school sees a student writing such calligraphy, he will definitely scold him "Mai Tai" and order him to rewrite it.
But in the face of the death of a loved one, Yan Zhenqing should not be gentle and gentle.
We felt his hands shaking and tears in his eyes.
The strength, speed and texture of the manuscript have gone beyond the control of "calligraphy".
So it is not "calligraphy", it is "super calligraphy"-beyond calligraphy in our ordinary sense, beyond those elegant, "perfect" calligraphy produced in the study, without a trace of damage or scars.
But it is still beautiful.
To describe it in Confucius's famous saying is to "do what one wants and not overstep the rules"-its frankness does not conceal the inherent laws of calligraphy.
Although the manuscript was written so hastily, it still has a structure, a rhythm, and a structure.
The circumflex of its pen, the sense of breath in the contrast of light and shade, and its vertical aesthetics that are connected to the sky are the source of charm.
It's just that they are all hidden behind, just like a master of martial arts. His tactics and tricks are concealed. They have changed into his instincts, and they are all resolved in every movement of him. They are superb and unpredictable. .
"The Manuscript of Sacrifice to the Nephew" does not seem to have a "composition", but with its majestic and grand structure, it has achieved its unshakable solemnity.
The beauty of "The Manuscript of Sacrifice to Nephew" is a kind of beauty mixed with too many complicated factors.
Behind it, there are violent winds, torrential rains, struggles, tears, filth, blood, and the long roar that has been in my heart for so long.
In love with pen
Love and hatred from the bottom of my heart
Yan Zhenqing was not only a calligrapher, but also a historical hero and a man of firm belief who wrote "The Manuscript of Sacrifice to Nephew".
The famous calligraphers in the history of calligraphy are actually "part-time" and not "professional", otherwise they will be reduced to technical scribes-a tool used by others, rather than a person with independent thinking.
Therefore, if there is a "history of calligraphy", it is also mixed with "political history" and "thought history".
As far as the Tang Dynasty is concerned, most of the emperors and ministers have excellent calligraphy. They write not to produce "works", but to convey ideas and express emotions.
The "three major running scripts in the world"-Wang Xizhi's "Lanting Preface", Yan Zhenqing's "Memorial Nephew Manuscript", and Su Dongpo's "Han Shi Tie" were all written under the trigger of a certain event. It mobilizes the writer's huge spiritual and emotional system, like the stream of consciousness in literature, and records the flow of their minds.
Yan Zhenqing is not writing with a pen, but with heart and with all his life.
He entrusted his life to the pen in his hand, so that the unspeakable feelings that were accumulated in his heart and turbulent from time to time were all expressed through the pen.
The utility of language is limited. The more complex the emotions, the more difficult it is to express the language, but the ancients gave calligraphy to the things that the language could not express.
Calligraphy must rely on words and language, but calligraphy transcends words and language. Calligraphy is not just calligraphy. Calligraphy is also painting, music, and architecture—almost the sum of all art.
The value of calligraphy is incomparable. In my opinion (perhaps, in the eyes of the ancients), calligraphy is the core of all art, and it is also the most advanced form. Even, it is not art at all, it is life itself. .
It can be understood that Master Hongyi Li Shutong was the first to introduce Western oil paintings, pianos, and dramas into the country, and he was well-known for his calligraphy, engineering poetry, Tongdanqing, Da Yinlu, Jingjinshi, and good performing arts. He has almost set foot in the field of modern literature and art. As an all-rounder in the history of modern Chinese art, Xia Mianzun regarded him as a "good son" and "many talented artist". After escaping into the empty door, all artistic activities were gradually banned, except for calligraphy.
His calligraphy is austere and vigorous, and he prepares everything with statelessness. He combines the courtesy of Confucianism, the naturalness of Taoism, and the tranquility of Buddhism in his pen and ink, making his calligraphy like pure gold and pure jade, cool and super dusty. , Precise, rigorous, clean, leisurely and elegant.
Even Lu Xun, who has always been picky, couldn’t help exclaiming when facing his calligraphy: “Pu Zhuo is perfect and perfect. Fortunately, I got the handwriting of Master Li!” When he passed away, he should have lost a word. In my opinion, that can be regarded as real chic, real "emptiness", but he still wrote, "the intersection of sadness and joy", which contained his life's emotions.
From this we can know that in Li Shutong's heart, calligraphy occupies an unshakable position in his heart. The only thing that can express the most complex emotions in his heart is calligraphy. In his eyes, calligraphy is the greatest art in art.
Of course, only Chinese characters can achieve such advanced art, and Latin alphabet cannot form such an art. This is why it is difficult for Westerners to read Chinese calligraphy and therefore Chinese culture.
The pen in their hand is not a pen. It is an extension of his heart, blood vessels, and nerves. It is a part of his physical body. Therefore, the pen in his hand is not a dead object, but a touch, even painful.
Only the pen in his hand knows the love and hatred of the writer.
"The Merry Calligraphy of the Forbidden City" published by People's Literature Publishing House