Song Gaozong, Zhao Gou and Calligraphy
Zhao Gou (1107-1187) Song Gaozong, whose real name is Deji, is the ninth son of Evonne, Song Huizong and Emperor Zhao Huandi. 15 years old, named Kang Wang. In November of the first year of Jingkang in the Northern Song Dynasty (1 126), nomads captured Bianjing (now Kaifeng, Henan), Hui Di and Qin were captured, and the Northern Song Dynasty perished. At that time, Zhao Gou, the King of Kang, was appointed Marshal of Hebei Military Forces, with 10,000 soldiers outside the city. The old generals in the Song Dynasty hailed him as the emperor. The following year (1 127), on the first day of May, Kang Wang, 2 1 year-old, was officially placed in Yingtianfu (Shangqiu, Henan, then called Nanjing), which was called Emperor Gaozong in history. He was the first emperor in the Southern Song Dynasty. In the early years of Zhao Gou's reign, he was able to use some anti-Japanese generals. But he didn't want to recover the Central Plains from the north, but he was bent on pleasing the Jin people and moved south to build Lin 'an (now Hangzhou, Zhejiang). His policy was to "make Hangzhou a border state", and he only paid tribute. After thirty-six years in office, he became a partial security bureau.
Speaking of Zhao Gou, it has something to do with my hometown Deqing. Zhao Gou was named Kang Wang, and Kang Wang was named Kangzhou, which is now Deqing County, Zhaoqing City. In the first year of Shaoxing in Song Dynasty (1 13 1), Kang Wang proclaimed himself emperor. Because Kangzhou (now Deqing) is his secluded house, so "celebrating with virtue", called Kangzhou Deqing, has been in use ever since.
Zhao Gou's political cowardice has long been a historical conclusion, but he has a place in the history of calligraphy. In the history of books, there were father-son calligraphers, and before that, there were Xian and his son, Ouyang and his son, and Mi and his son. In fact, Evonne and Zhao Gou are also famous fathers and sons.
Song Gaozong Zhao Gou deserves to be Song Huizong's own son. He is brilliant enough to catch up with his father. His calligraphy is comprehensive, unique and similar to everyone's. He said to himself, "Yu's brushwork was copied from the Wei and Jin Dynasties to the Six Dynasties without exception, and many people prepared it with pens. The meaning is simple, and there is a choice. If you post it, the benefits will be deep and the benefits will be strict, so that it can be sung. " Another cloud said, "I like to write with a pen. Although it is easy to be typical, what I like in my heart is inherent." In the past 50 years, there has been no mutual obstruction of major interests, and there has been no pen and ink. "Song Gaozong really didn't make it. His diligence is an example for today's students. In the thirty-second year of Shaoxing (1 162), Song Gaozong, aged 55, abdicated and became the emperor's father. For the next 26 years, he practiced every day and never stopped. " Every time he gets the right army or a few lines, or figures, his hands are not correct. "In the end, it became a family, with free and easy brushwork, natural fluency and charm. Ma Zonghuo said in "The Tree Algae": "The emperor first learned the yellow character, then the yellow character in the world, then the rice character in the world, and finally the sun character, Sun Zisheng ... He built a small art, which was advocated from top to bottom and was very popular." Zhao Gou himself is quite conceited about this: "The predecessors can correct the book and then cursive, and both methods must be covered ... The grass grows and flies, inspiring the pen, standing out from the crowd, being heroic and heroic, and ultimately not distorting." Lu You therefore praised Song Gaozong for "understanding the eight laws, emphasizing elegance, and observing famous calligraphy and painting; Spare no effort, take it easy, and be lazy. "
He is the author of Mo Hanzhi, with cursive ink handed down from generation to generation, such as Luo Shenfu, Alvin Qian Wen Zi and Guangming Pagoda Monument. Biographies such as Gu Kai's Woman Shi Ming and Chu Suiliang's Ni Kuanzan also mention the person who wrote this book.
Cao Luoshu and Shen Fu in Zhao Gou's Works
Luo Shen Fu is a famous work of Cao Zhi, and many excellent works have been produced by drawing lessons from calligraphy and painting in past dynasties. As far as calligraphy is concerned, Wang Xianzhi's regular script, Zhao Gou's cursive script, Zhao Mengfu's running script and Zhu Yunming's cursive script are all masterpieces in the history of calligraphy.
Zhao Gou's cursive "Luo Shen Fu" is now in the Liaoning Provincial Museum. It is a silk book with a height of 27.3 cm and a length of 277.8 cm. Finally, it was written in Deshou Hall. It is indeed a work of his later years. When writing, all the modal particles "Xi" in the original text are omitted, which is rare in calligraphy works. This work is skillful in brushwork, mellow in brushwork, vigorous and leisurely, which shows that the writer at that time was energetic and cheerful, and was a pen in his later years rather than in his later years. The work belongs to grass, although the pulse is coherent, but the words are independent and the pen is clear. Zhao Gou once said, "Many predecessors can correct books and then cursive, and it is essential to cover two methods ... Grass can make the phoenix take off, stimulate the pen, stand out from the uninhibited and never distort." "Those who learn calligraphy first should prepare eight methods, which are not attached to each other. As for the words, they can also be read correctly, and they will never change their essence, which will cover up the aftermath of the official. If the model method arrives, it will naturally be realized in the second method, and there will be no surprises. " On the contrary, it is a mere formality, and I don't know the reference eyes. It emphasizes the basic function of regular script and advocates that cursive script "makes strokes undistorted", so its books have no habit of continuous simplification and are easy to identify. In fact, as early as Su Shi's period, he often emphasized the importance of regular script and advocated that cursive script should have statutes. As the saying goes, "True deeds need to be made, grass needs to be made, true deeds need to be made, grass needs to be made, and those who can walk can't stand up" (Su Shi's Six Books of the Later Tang Dynasty), and Huang Tingjian also said that "cursive writing is the beauty of the ancients" (on books). If you specialize in cursive writing, Song people also advocate law. Worship of law even restricted the further development of cursive script in Song Dynasty.
Although Zhao Gou's volumes are his own, they also have their own origins, among which the influence of wisdom and courage is more obvious, and the brushwork and character potential can be seen. Miffy's shadow is still there. Zhi Yong was specifically mentioned in A Record of Momo, which was called a collection of thousands of articles. Today, Zhao Gou's book Traces also contains thousands of words from Lin Zhiyong's True Grass, which shows its deep immersion. In A Record of Momo, Zhao Gou made no secret of his love for Mifei, and even recorded some details of Mifei's life, which is very popular among fans today. Mifei in the famous sentence of Haiyue is ugly and contemptuous. Besides, we can clearly see the similarities between Mi Fei's Incense Candle and Zhao Gou's Ode to Luoshen. It can be said that the early Mi Fei method was involuntarily revealed in Zhao Gou's later works.
Zhao Gou's regular script "Preface to Hui Zongwen Collection" (part) is 27.4 cm in length and 137.0 cm in width, which is collected by Japanese cultural department.
Zhao Gou's running script "A Cut Volume for Yue Fei" was written in the 11th year of Shaoxing (1 14 1) in Taipei Blue Qian Shan Collection.
In the early days of Zhao Gou's accession to the throne, he appointed some anti-Japanese generals, especially his love and respect for Yue Fei. Needless to say, a letter I wrote to Mr. Yue Fei is enough to print a thick book. Not only that, Zhao Gou also wrote the words "loyalty to the country" for him. The above Letter to Yue Fei is a part of Zhao Gou's personal letter to Yue Fei, with the word "Fu Yue Fei" attached. It is the treasure of the court and the second seal of the emperor's imperial decree. The font is between lines and blocks, which shows the author's profound calligraphy skill.
Zhao Gou's "A Thousand Words of True Grass in Yu Shinan" is in the Shanghai Museum (part).
This volume is Yu Shinan's two-body thousand-character essay, which is round and slightly short of Yu Shinan's pen power.
Emperor Gaozong is a beginner of yellow writing, and this painting is the heritage of the valley.
Zhao Gou's regular script "Qiyan Rhyme" in Taipei National Palace Museum is 27.1× 48.7cm.
This ink is Du Fu's regular script Song Gaozong's seven-character poem, also known as "Poem Post in Late Spring and March". This poem comes from the center, because its composition is neat, the font is symmetrical and round, and the ink color is even, which is pleasing to the eye. The artistic conception of Du Fu's Seven Laws is picturesque, and Gao Zong's brush and ink wash the chain, which can be said to complement each other. After the poem, there is a picture of this poem written by Zhao Mengfu in Yuan Dynasty, but unfortunately it has been cut off.
Gaozong retired in the thirty-second year of Shaoxing (1 162). The regular script written in this period is elegant, harmonious, straight and even, and has an elegant and chic taste. This work is not only close to this style, but also has the seal of Gao Zong when he was in office (the treasure of imperial books), so it is speculated that it should be written not far from retirement.
Zhao Gou's "The Book of True Grass Ji Kang Health" Shanghai Museum
In the autumn of 2000, the Shanghai Museum purchased Zhao Gou's "True Grass Ji Kang Health Book". The core of this volume is six meters long and the text is 2472 words. Not only true, refined and new, but also so long. So far, it is really unique among public and private collectors at home and abroad, and it can be described as a rare treasure in the book of emperors and even in the law books of past dynasties. At the end of this volume, we can see the author's summary. According to the volume at the back of Zhu's book De Shou, we can see that this book is abdicating and calling it the emperor's father. It was collected by Yang Yiqing in Song and Yuan Dynasties. In the early Qing Dynasty, it was collected by Liang Qingbiao and later hidden in the Qing Palace. After the Qing dynasty, it flowed into the people.
Ji Kang's Theory of Health Preservation, from the title to the end, has always been completed with the essence of original cursive script and accurate structure. Song Like Hui Zong's "A Thousand-character Book with Thin Gold", although its surface is defined by the words in Wu Si's column, is the most rare charm. In Ji Kang's Book of Health Preservation, there are still regular script styles prevailing in Europe (Yang Xun) and Japan (Heather), as well as mature calligraphy styles that strictly abide by the rules of cursive script and directly come from the statutes of the "two kings", and the resulting high harmony between truth and cursive script styles is indeed something that is usually intended for sketching.
The calligraphy form of writing the same content in different calligraphy originated in Sui and Tang Dynasties. According to "Xuan He Shu Pu Volume II", Shi Yuanya was "known to the official script only after a thousand words of tadpole seal script". As a result, people gradually interpret this phenomenon, which was originally intended to explain words, as another calligraphy expression that can skillfully combine form and content, be compatible with various calligraphy styles and develop their strengths. The other reason for the continuous development of this art form is the objective existence of social and cultural phenomena at that time. For example, at the same time, Qian Zi Wen, a popular book about nature, society, history, ethics and education, naturally became the best combination of such books. It is reported that Zhi Yong of Sui Dynasty and Ou (,Shinan), Chu (Sui Liang) and Xue (Ji), known as the "four schools in the early Tang Dynasty", wrote Qian in both original and cursive forms, and then followed suit, which may be the fundamental reason for the endless emergence of excellent calligraphy works of Qian. Of course, since the Song Dynasty, there have been various forms of calligraphy creation, which are not limited to the content of writing, but also intensified. Song Gaozong's Book of True Grass Health Preservation is an excellent example.
This should be a letter with Yue Fei, with sincere feelings between the lines, but it was soon killed. People are unpredictable!