Mr. Ma Zonghuo thinks: "Nanhai calligraphy wants to be transformed into different faces in the Six Dynasties, with Shimen Ming as the main feature, supplemented by stone valleys, sixty portraits and Yunfeng Mountain stone carvings." ("Bi Yue Lou Bi Tan")
Mr. Wang thinks that Kang "wrote his mother's tombstone and tried his best to imitate Yan, but his posture is close to the statue of sixty people." How could he be moved by this? " ("Yu Hua")
Mr. Shang Chengzuo thinks: "His" respecting Wei and belittling Tang "is not truth and prejudice, but covering up his hypocrisy. To understand it, we must start with its history. When he was a child, he wrote about Europe, Yan and other historical sites, and also wrote about Zhao Mengfu, struggling in Weibei. In the 19th year of Tang Kaiyuan (AD 73 1 year), the "Millennium Pavilion" was carved on a rock on the bank of a river in Baxian County, Sichuan Province, and few people knew about it. When Kang got this rubbings, he regarded it as a treasure. Deliberately imitate, and on the basis of this carving, further exaggerate, and then become' fitness'. I compared this extension with Kangzi and immediately stripped him of his disguise. " (5)
Mr. Sha Menghai thinks: "He has the deepest influence on Shimen Ming, followed by Stone Valley, Statue of Sixty People and Yunfeng Mountain. He likes to write "big characters", of course, because he is broad-minded, but his posture is purely from (there are also several layers of strict words), which is obvious to all. Deng He is his favorite. When writing a book, I often participate in their brushwork, but there is another one that he writes in big and small characters and has some color. He has never understood it, that is, Yi Bingshou. Look at their casual writing, draw a flat length and a round turning point. It's natural and it doesn't look like a lot of fireworks. " (6)
Although Kang Youwei wrote all kinds of inscriptions, he did focus on them. What inscriptions have had a decisive influence on his calligraphy style? People analyze its origin from the perspective of the formal beauty of "Kangti" calligraphy and draw different conclusions. Looking at Kang Youwei's works, which can be called "re-creation" in the mature period of calligraphy, we think that Mr. Ma and Mr. Sha most insightful attribute the most fundamental origin of his formal beauty to the concept of Shimen inscription.
"Amusement" was deeply influenced by Shimen Ming in the Northern Wei Dynasty, revealing a trend of openness beyond solemnity. Kang Youwei attaches great importance to the posture in calligraphy. He said: "If you study in an orderly way, you must be able to write first and be solid." As for writing a book, we should start with the structure, draw a picture horizontally and vertically, seek the body first, and then talk about the trend of returning to the original, returning to the original and stretching. Proper choice of words, I will talk about branches and white chapters. If you ask for ancient monuments, you can get the rules and regulations of each family, and you can understand their density. The calligraphy sought is proved by various secret collections, which can be used by Teton and Fiona Fang. Immersed for a long time, the practice is ripe, the bones and flesh are ready, and then they become adults. Only when the body is established can it be said. "Ji" said:' A gentleman is not an adult unless he is prepared.' If the body is not ready, it is not a book. "(7) He believes that" all bones and flesh are ready, and then they become adults. Only when the body is established can it be said. " And stressed that "the body is not prepared, that is, it is not a book." Mr. Wang Tiankui said when analyzing the artistic features of "Kangti" calligraphy: "In" Kangti ",there is a strong and dense spirit flowing in it. In its strokes, structure and composition, it shows the relationship between bones, tendons, flesh, blood and dynamic lines. Kang Xi entered the pen against the peak to gain momentum, and the pen entered the knife late, which was both magnificent and magnificent. The Buddhist Axis written by Kang in his later years (collected by Tianjin Museum) is full of Weibei style. The brushwork mostly starts with a peak, with no setback at the end, and the pen is round at the fold, with few edges and corners; Cross-painting and multi-meaning, the pen goes into Tibet; There seems to be a kind of' tension' in stippling, and the strokes are swaying vertically and horizontally, which hides the emotional power that calligraphers can't stop.
There is indeed extraordinary generosity. "He added:" Kang Youwei's five-character couplets of "opening the earth to create a horse, blaming the dragon" rubbed Wei Bei's round pen into the grass, which seemed to be casual and never perverse. Workers and fools look at each other, harmonious but different. Kang's strokes are reduced as much as possible, the lines are naturally stretched, long and short, each with its own body, taking the shape of everything, which is formed by the situation, and promoting the elegant and vigorous momentum with a rough brushwork. This is a typical example of' recreation' to create a simple and peculiar book style. Calligraphy axis published in the Republic of China is another word of' fitness'. There is no common jumping, wanton brushwork and the combination of profundity and strangeness, which seems to converge the hearty mentality into a plain composition. But if you look closely, you will find that this is another successful attempt to create a muddy atmosphere with a simple and elegant gesture and heavy-colored stippling. Facing the natural landscape of Qionglinyao Island, there are thousands of rivers and towering mountains, and a quiet breath of muddy wood overflows in my heart. This kind of mood turns into the line image in the hand, forming the writing intention of Hunmu. The whole character is full of charm, which fully shows the charm of "re-creation". As Ding's "On the Essence of Calligraphy" said:' Kang Shuchun's uniqueness lies in his actions with his heart, regardless of the brushwork, which is difficult for ordinary calligraphers to say.' "(8) Kang Youwei's five-character couplet in the book" Open a horse on the horizon, make a dragon in Qiyi "was actually influenced by Chen Tuan in the early Song Dynasty. As mentioned in the previous article, Kang Youwei once got a view of a couplet written by Chen Tuan in the Song Dynasty, which is "opening the earth and making a dragon in a strange place", and named the whole method of the couplet "Shimen Ming", which also became a way for Kang Youwei to deeply understand the calligraphy of Shimen Ming, making this couplet in his book closer to the calligraphy of Shimen Ming, with broad momentum, vigorous writing and a sense of strangeness.
Kang Youwei's inheritance of the formal beauty of Shimen Ming is different from Chen Tuan's. In Kang Youwei's calligraphy system, Shimen inscription is a core, and there are many contents around this core: Qin Zhuan, Han Li, North Monument and South Post are integrated into one furnace, creating a "new body that has not been seen for thousands of years"-"Recreation". Because recreation is straightforward and natural, its words are unrestrained, rude and chaotic, simple and complicated, except for small ones. The stippling line is straight and curved, full of tension, like thunder, which can lift the tripod; The shelf structure takes advantage of the vertical and horizontal trend, and the horizontal trend is dominant, and the holes are wide and spacious. There are many breaks between words, but they are not connected, opening and closing vertically and horizontally, and they are integrated; Inner feelings can be freely expressed, unimpeded and unrestrained. The mysterious realm stands out in the book world with its atmosphere, massiness and boundless ancient flavor.
The representative works of "entertainment" such as "Flying White Book Bright Screen" are calm and carefree, with flying words, full of rhyme and hearty; The poem "Visit Huashan Mountain, Climb thousands of feet Gorge" was written by Fiona Fang, and the method of sticking tablets was integrated with grass. "Remember the Reform Movement of 1898 and thank Puyi" is a lost inscription, which is a natural thing. In addition, Xiong Qi's Essay Union, You Cunlu's Poems and General Guangwu's Inscription and Postscript also fully reflect the artistic achievements of "re-creation". From these works, we can feel the brushwork, posture, verve, implication or implicit or explicit embodiment of the calligraphy of Shimen Ming, which has been subtly integrated into "re-creation" and become the core factor of its formal beauty.
Mr. Zhang Jinliang summed up the characteristics of Kang Youwei's calligraphy in four words: bold, broad, ancient and easy, which is very appropriate. He said: "After reading many of Kang Youwei's calligraphy works, I think it is more appropriate to sum them up in four words: Xiong, Guang, Gu and Yi. Xiong means that Kang's calligraphy is vigorous and masculine. His pen plays down the technique and flaunts the spirit, which is incomparable to other calligraphers. Bo means that Kang's writing structure is broad, his methods are broad and his knowledge is profound. Kang's poems are mostly horizontal, broad and steady as Mount Tai. The bigger the word, the better. He is also broad-minded enough to learn books. He wanted to "collect monuments in the north and outposts in the south" and "cultivate them by dividing Qin Zhuan into China". Without extraordinary knowledge and superb eyesight, he could not come up with this shocking theory. Few calligraphers in ancient and modern times can match it in melting the ancient and casting the present; In ancient times, it means that his book is lofty, ancient and muddy, and his pen is Gu Zhuo, simple and elegant. "Recreation" calligraphy was valuable in the Tang Dynasty without the will of future generations, and everything in ancient times was not necessarily good. Learning ancient, learning old, learning ancient, ancient but not old, is a master, and Kang Youwei has these qualities. Yi means that most of Kang's books are rambling, full of spirit, unrestrained, elegant and natural. In' Kangti' calligraphy, there are few rigorous and rigid works. The pen in your hand is like a horse, free from any fetters and not rude. " (9) Among them, "Xiong" and "Yi" are inextricably linked with Shimen Ming, and "bold and unrestrained" and "elegant and natural" constitute the common formal beauty characteristics of Kangti and Shimen Ming, reflecting the ancient and modern times.
refer to
[1] Qing Kang Youwei wrote "Guang Yi Shuang Zhou". See: Selected Calligraphy Papers of Past Dynasties, Shanghai: Shanghai Calligraphy and Painting Publishing House, 1979 edition, 757 pages.
[2] Qing Kang Youwei's "Guang Yi Zhou Shuang", see: "Selected Calligraphy Papers of Past Dynasties", Shanghai: Shanghai Calligraphy and Painting Publishing House, 1979 edition, 790 pages.
[3] Qing Kang Youwei wrote "On Guang Yi and Zhou Shuang", see: "Selected Calligraphy Papers of Past Dynasties", Shanghai: Shanghai Calligraphy and Painting Publishing House, 1979 edition, 790 pages.
[4] Qing Kang Youwei's "Guang Yi Zhou Shuang", see: "Selected Calligraphy Papers of Past Dynasties", Shanghai: Shanghai Calligraphy and Painting Publishing House, 1979 edition, 850 pages.
[5] Shang Chengzuo's "My Experience in Learning Calligraphy", see: Selected Papers on Modern Calligraphy, Shanghai: Shanghai Calligraphy and Painting Publishing House, 1980 edition, 7 1 page.
[6] Sha Menghai's Calligraphy for Nearly 300 Years, see: Sha Menghai's On Art, Shanghai: Shanghai Calligraphy and Painting Publishing House, 20 10 Edition, 22 pages.
[7] Qing Kang Youwei's Talks on Guang Yi and Zhou Shuang, see: Selected Calligraphy Papers of Past Dynasties, Shanghai: Shanghai Calligraphy and Painting Publishing House, 1979, 848-849.
[8] Wang Tiankui's "Kang Youwei's Calligraphy Art", see: Jin Kaicheng and Wang Yuechuan's "China Calligraphy Culture Grand View", Beijing: Peking University Publishing House, 1995 edition, 62 1-622 pages.
[9] Zhang Jinliang wrote "The Charm of the Six Dynasties in Sion-On Kang Youwei's Calligraphy Art", see Friends of Calligraphy 1997 No.4, pp. 23-24.