Dong Qichang's "Essays on Painting a Zen Room"
Source: China Binhai High-tech Keywords: Orchid Pavilion; house leak marks; calligrapher; calligraphy ear; regular script Author: 2011-05- 24 11:02
This post (official slave post) is in "Chunxi Secret Pavilion Continued Engraving". Mi Yuanzhang said it is absolutely similar to "Lanting Xu". I saw his calligraphy in Nandu in the past, and wrote down his calligraphy on Mi Tie, saying: "The characters are Qianzhu, and the momentum is strange but upright. The hidden front is wrapped in iron, and the strength is far away. I can convey the spirit to it." Now it is collected by Wu Taixue Yongqing. Shortly after I left Wumen, I had been thinking about it for more than twenty years, and then I came across this text: I wrote this post more than twenty years ago, and now I suddenly have an understanding of the original work, and I gradually cultivated it and realized it. It did not happen overnight. . If it was possible at the time, it might not be true without painstaking efforts and suspense. There is a saying by Huai Su: "Open your mind and suddenly release your stagnation." This is what we call it today. On the third day of the tenth month of Xushen at that time, while boating on the Zhujing Road, I wrote "Lanting" and this post in Japanese, and wrote "禊 tie" in the style of "Guan Nu", which made him particularly popular.
I imitate everything in my writing. I am most proud of my small regular script, but I am too lazy to pick up my pen. However, most of the people who travel through the world with running grass are not written in writing, and the first words are directed to you and answered. If they are combined, they will not be able to track the Jin and Wei, and they will definitely not follow the Tang people.
Writing and poetry are related to the same issue, whether they are passed on or not, and whether they are discussed or not. The result of extremely talented people can be said to be omnipotent. The mysterious flavor must come from the bones of heaven and cannot be conquered by the power of drilling and admiration or the power of pure training.
Where the pen is turned and where the pen is placed, the spirit and blood are easy to let go. This official calligrapher has to focus on Guanjin, and the creation will be completed at this time. But if you know how to draw the pen, but don't know how to turn or release the pen, you will not achieve the highest level of achievement.
The book must refer to the two characters (Lihe). Yang Ning's style cannot be the style of Ou and Yu schools, and it is Li to gain momentum. Mi Haiyue boasted all his life that he could not take this step forward by taking advantage of the dryness of Wangban Mountain. He said that "the eyes are full of clouds and flowers, and it is difficult to get rid of them." Zhao Ziang entered this mysterious place and felt the smell of court. "Nei Jing Jing" says: "Bland and tasteless natural food", this statement can be imagined.
Thirty years ago, I wrote a book called Cami, but there was no actual writing, so I claimed to have learned the secret. If I can't get used to it, I will still be the same now, which is a shame. Mi Yun: "Mainly based on momentum." The rest of the disease is due to lack of blandness. The blandness is brought about by the bones of heaven and cannot be achieved by learning. In the inner canon, it is called "bringing the teacher's wisdom", and calligraphers call it "qiyun".
When it comes to calligraphy and calligraphy, good work and painstaking efforts are not always done by exhaustion of energy, especially for those who are refined, either through drunkenness, dreams, or illness, and playing with magical powers. They can do anything, so why should they be happy? King of Qi, creation is complete! According to legend, Zhang Xu, known as Cao Sheng, drank several buckets of wine, soaked ink with his head, and wrote on the wall. The viewer was astonished by the miserable wind and heavy rain. When Wang Zi'an was writing, he would grind out several liters of ink, lie down under the quilt, and rise up from a deep sleep. He would not add any punctuation to his words. If there are ghosts and gods, these are all outside the path of writing and ink. Today, I observed that when Mr. Wang was alive, he did not drink alcohol when he was ill. Moting and Han gave him good medicine from the inner palace, and often wrote more than 20 chapters of poems on his pillow to thank him. That's why he and his two sons are in a six-legged relationship. ...
People from Jin Dynasty wrote down methods, and people from Song Dynasty wrote down ideas. Is it not better than the method? Otherwise, people in the Song Dynasty took it as a book. It cannot be what the ancients meant. However, Zhao Ziang corrected the shortcomings of the Song Dynasty. Although he had already intended it, he did not use it. This must have been criticized by the people of the Song Dynasty, and it was probably changed by the law. The poetry rhythm of the Tang Dynasty is quite similar to its calligraphy, both of which are mainly rich and elegant, while the stone method is a little further. Yu Mei said that the Jin and Tang Dynasties had no attitude, and only by studying the Tang Dynasty could one enter the Jin Dynasty. Jin poetry is like its calligraphy. Although Tao Yuanliang's ancient style is dull and Ruan Sizong's style is better, Yu and Chu are not comparable in calligraphy, so they have no door. Because Tang Dynasty poetry refers to it.
People from the Jin and Song Dynasties wrote books, but they were won by romance, not because they were impossible, and the beauty was not in the law. In the Tang Dynasty, people began to focus on the Dharma as their path and studied it to the fullest.
In short, worldly desires create the ultimate place and make the spirit indelible. The so-called divine product is because it was written by my god. He alone wrote the Tao, everything is done.
Chan Master Dahui said in his talk about practicing Zen: "For example, if someone has millions of dollars, I can't use them all, so I am even more interested in asking for debts." This statement is very similar to that of Guan Naozi, a calligrapher. Mi Yuanzhang said: "It's like pushing a boat on the fast water, using all your strength not to leave the old place." The beauty of Gai Shu is that he can combine, and the spirit can separate. Therefore, separation is not the trick of famous writers like Ou, Yu, Chu, and Xue. I want to get rid of the habits of Youjun Laozi, so it is difficult to listen. Na Zha took apart his bones and returned them to his father and his flesh to his mother. If there were no bones or flesh left, it would be said that the void was shattered and his whole body was exposed. After the Jin and Tang Dynasties, only Yang Ningshi solved this orifice, and Zhao Wuxing did not dream of being there.
I studied calligraphy at the age of seventeen and painting at the age of twenty-two. I am now fifty-seven or eighty-years-old. If there is any false praise, I will correct it myself, which is quite different from Mi Dian's deceptive remarks. Compared with Wen Taishi, most of his paintings have their own shortcomings and strengths, but Wen's fine tools and styles are not as good as mine. As for the elegance and beauty, it goes even further. Compared with Zhao Wenmin, each has his own shortcomings and strengths. The lines are thick and dense, and a thousand words are written together. I am not as good as Zhao. If we imitate the past dynasties, Zhao will get his eleventh and I will get his seventeenth, and Zhao's book will be vulgar because of its "mature", and my book will be beautiful because of its "raw". Zhao Shu never makes up his mind, and my book always follows his will; when I make up my mind, Zhao Shu also loses. The first person who makes up his mind has few ears.
In my book, I seem to be directly acquainted with Zhao Wenmin, who is the youngest person. As for Zi'ang's familiarity, he is not as capable of crying as I am. But don't write too many books to give Wu Xing an advantage. The painting is specific and subtle, as if it were a person with the same eyesight over the past three hundred years.
I have been studying calligraphy for thirty years, and I have mastered calligraphy, but if I can't demonstrate it, I have to stand up, fall down, and restrain myself. After passing this level, even Lijun and his son were helpless. Turn left and right, which is the momentum of Lijun. The so-called traces that appear to be miraculous but are true anyway cannot be understood by the world.
Books written by people in the Tang Dynasty were all written back to the wrist, and the writing was able to retain the pen. Not being straightforward and smooth is the secret passed down by calligraphers. Weidan calligraphy, that is, the painter's brush, should also have this meaning.
Although calligraphy is valuable for hiding the edge, you should not use vagueness to hide the edge. You must have a pen with the meaning of Tai'a* cut, use strength to gain momentum, and use emptiness and harmony to gain rhyme. This is what Yan Lugong said: "Using a seal to seal clay is like a cone drawing sand." Read "Yu Run Tie" carefully and think more than half of it.
Mi Haiyue's book never hangs down or shrinks, and goes wherever it goes. This eight-character mantra is also a mantra without equal. However, the word must have gained popularity. Haiyue said that he had collected ancient characters, and he paid the most attention to the word "jie". Compared with his later years, he began to come up with new ideas. ...
When the ancients wrote books, they would not make up the main points, but use oddities as the main points. This is why Zhao Wuxing did not enter the Jin and Tang Dynasties. "Orchid Pavilion" is not incorrect, and there are no traces of its vertical strokes. If the mining patterns are similar, move around and away. Liu Gongquan said: "The pen is correct", and those who are good at studying Liu Xiahui must participate in it. In the thirty-nine years of my study, I came across this idea.
The ink must be moistened and not dry, especially if it is rich in fat, as fat will lead to evil ways.
I have read the book written by Youjun and his son, and their romance ended in the Qi and Liang Dynasties. Since the beginning of the Tang Dynasty, the Yu and Chu generations have changed their methods and become incompatible with each other. The father and son of Youjun almost seem to be resurrected. It is not easy to understand this statement. It is easiest to copy it, but it is difficult to convey the spirit.
When you encounter a stranger unexpectedly, you don’t need to look at their ears, eyes, hands, feet, head or face. Instead, pay attention to their behavior, laughter, and where their true spirit is revealed. This is what Zhuangzi calls "the Tao exists after witnessing it".
Zhang Zihou came to a copy of "Lanting" on the day. Dongpo heard about it and said: "This book will never be finished." As a Zen saying goes, those who enter through the door are not the treasures of the family. However, there are many copies of Zhao Zi'anglin, and only the seventeen and thirteen postscripts have been handed down to the world. "The world only learns the orchid pavilion face, and wants to change the mortal bones without the golden elixir." Shanguyu agreed with Dongpo. In the period of separation and union, if he abides by the law and does not change, he is the calligrapher's slave.
The posts written by Youjun in the past were partly out of asking for condolences, but also out of mourning. The so-called tear-stained old author, his book alone has survived to this day.
The "Inner Scenery" is entirely outside the borders of pen and ink, and it is undoubtedly the favorite book of the Six Dynasties. Nowadays, when people write books, they only use their pen to draw their ears. Although the structure has ancient methods, it is not really using a pen. Make good use of the author's pure energy, and do not make good use of the author's thick and turbid energy. Not only are there differences in each style of the series, but there are also two kinds of them in one word, which is something we must not be aware of.
Yan Lugong received his brushwork from Zhang Changshi. There are metaphors such as "cone painting sand" and "printing mud", and it is also called "house leak mark". However, the inscriptions on the stele are neat and tidy, with silkworm heads and rat tails, which means there are no traces of "cone sand", "seal mud" and "house leakage". Unseen. The place where I put down the pen and place the pen on this stele are both gentle and strong at the same time. When I wrote it, I suddenly felt like I had enlightenment. Lu Gong said: From Zhong and Wang to Yu and Lu, they all taught oral judgment by hand, and even Zhang Changshi. Believe it.
The three metaphors of Zhui Sha are all metaphors of hiding the front, but there are also situations where the front is unknown. Because of the sharpness of the front, it is the turbidity of the hidden front, which is what this monument is. Although the shape and appearance of Dongpo Yan's brushwork are similar, what is missing is the use of the brush. The same is true for his disciple Wang Seng.
"Seat Competition Calligraphy" was imitated by Su, Huang, Mi and Cai of the Song Dynasty. In the Tang Dynasty, although the Ou, Yu, Chu, and Xue families depicted the two kings, they were not unconstrained by the rules. However, Lu Gong was innocent and brilliant, and won the right army's spiritual harmony, so he was the origin of the Song Dynasty.
I came to Yanshu recently because I realized that only two kings had the so-called "broken hairpins" and "house leaks". Lu Gong went straight into Shanyin's room and eliminated the Qingmei habit of Ou and Chu. Dongpo said: "Poetry is as beautiful as Zi Mei, and writing is as good as Lu Gong." This is not a false statement. Yan Shuwei's "Preface to Cai Mingyuan" is particularly ancient, Mi Haiyue could not be like it in his life, and Gai Yi studied the official books of the early Tang Dynasty and lacked a bit of integrity. For this reason under the lamp, everything is wrong. Although it is not popular, the spirit is bright, but it is not as good as the ancients. As it gets older and more mature, it becomes dull. Mi Lao is still separated from the dust, dare to claim to be real? I am ashamed of the title.
Every time I read Huaisu's "Autobiography Tie", I always use the meaning of the Daling pen. Huang Changrui said: If Mi Fu sees the pavilion's postscript and is a little ungrateful, his fate will be at risk. Xu and Su got a family from the two kings. Although Xu's posture is graceful, aloof and unruly, his regular calligraphy is precise and detailed, which is especially true. Those who are crazy about cursive writing can make progress from now on.
Liu Cheng hung up the book and tried his best to change the military law of the right, but he did not want to be similar to the "Ye Tie". The so-called magic turns into rottenness, so it is separated from the ears. Ordinary people who study books and use posture to capture beauty can rarely understand this. Yu Yu, Chu, and Ou were all like Shi Yi, who taught themselves Liu Chengxuan, and then realized the ancient and light points of his brushwork. From now on, we must not abandon Liu's method to benefit the right army.
Yang Jingdu's calligraphy was written by Yan Shangshu and Huai Su, but it is strange and does not have the decadent spirit of the Five Dynasties. Song Su, Huang and Mi all followed it. "Shu Pu" says: "Now that we have achieved peace and justice, we must pursue danger and danger." This is also called scenery.
The calligraphers thought it was so dangerous that they stole it from each other, but Lu Gong and Yang Shaoshi got it. Zhao Wuxing couldn't explain it. Today's eyes are obscured by Wu Xing. I got Yang Gong's "Poetry on Traveling Immortals" and became accustomed to it day by day.
Mr. Dongpo wrote, and the world said that he studied under Xu Hao. What I saw from my perspective came from Wang Sengqian’s ears. But Po Gong uses the structure, and there is Yanbi in the middle, and it is mixed with Yan Changshan method. Therefore, people in the world do not know where they come from. That is to say, Mi Haiyue Shu took the initiative to get it, but it changed in his later years, so he had the strange feeling of being as cold as ice in the water. There are no calligraphers who have learned from the past and remained unchanged.
Mi Yuan Zhangshu, calm and cheerful, directly wins the hearts of Jin people. The young man failed to establish a family, and all the ancient posters were scaled, and Qian Mu's father complained that his characterization was too much. When the disciples took the lead, he realized it, took off all his pens, and came out of his own body, just like after enlightenment in Zen, he stripped the flesh and returned it to his mother. The bones are returned to the father, the Buddha and the ancestors are scolded, and the appearance is different. Although Su and Huang met each other, they were not without awe. In his later years, he said that he had no right-wing tackiness at all, and that he was good at what he did...
On the right are all written by Zhao Wenmin in Xianchuang. Xishan An's family carved it at home. Yu Su did not learn from Zhao Shu, and his structure was slightly habitual. As for the use of brushes and ink, Wen Min said that "it is not easy to change through the ages." If not, why is it so famous that it disturbs the universe! The predecessors did not discuss it lightly.
People say that Ni Shu has the legacy of "Huang Ting", but this theory is not public. Ni made his own arrangements, like eating olives, with clear fluid flowing around his cheeks and ears. The four taboos of calligraphers are: sweetness, evilness, vulgarity, and laziness. Ni's enlightenment came from painting because of its beauty. Zhizhishanren's book has many fake copies in Wuzhong. There are twenty verses in this book, like iron wrapped in cotton, like sealing mud. It is a true tiger in nature, and it was not General Pei who shot Zhubiao first.
Those who studied plain calligraphy in this dynasty rarely had any religious interest. Xu Wugong, Zhu Jingzhao, Zhang Nanan, and Mo Fangbo each have their own talents, and Feng Kao Gong is also outstanding, but the crazy and angry Zhang has lost his originality. I said that Zhang Xuzhi is as thoughtful as Dong Yuanzhi is in his magnanimity. He inherits the same mantle and has no residual hatred. They all aim at being plain and innocent. People's eyes are crazy but they are not crazy.
Wusong Shu originated from Lu Ji and Lu Yun, and was created before Youjun, but it has ceased to be popular since then. Er Shen, Zhang Nan'an, Lu Wenyu, and Mo Fangbo made some improvements, but they were not handed down to the world, and were ignored by Wu Zhongwen and Zhu. The two families of Wen and Zhu were aiming for a moment, but they wanted to break through the second sinking, but they failed. There is no reality in being empty. Therefore, the rest of the book will go with all the gentlemen to enjoy themselves and not want to compete, waiting to be appreciated by those who know the book.
Translation
Chinese Ming Dynasty calligraphy and painting theoretical works. Written by Dong Qichang. It was compiled by Yang Bu, a painter in the late Ming and early Qing Dynasties, who compiled Dong Qichang's scattered chapters that were not included in "Rongtai Collection". The book consists of 4 volumes, of which volumes three and four have nothing to do with calligraphy and painting. The first volume includes sections on writing brushes, commentaries on methods, postscripts, and commentaries on ancient paintings; the second volume includes sections such as painting tips, painting sources, inscriptions on self-paintings, and comments on ancient paintings. The book's discussion of calligraphy advocates the skillful use of pen and ink, emphasizing the knotting of words, emphasizing the understanding of its spirit when writing posts, and advocates "backing it with intention"; its discussion of painting focuses on the Northern and Southern sects, advocating literati painting and disparaging "expert painting". Regarding the development of painting, he praised the change from "gong" to "smooth" from the Tang to the Song Dynasty, and criticized the change from "smooth" to "任" by some painters from the Song to the Yuan Dynasty. It is advocated that painters should read thousands of books and travel thousands of miles, and take life, beauty and truth as the ultimate artistic realm. Some of the painting theories and techniques in the book have unique insights and will have a great influence on the future development of painting. His painting theory had a profound influence on the "Four Kings" painting schools of the Qing Dynasty.