The three changes of Liu Yong's calligraphy have a lot to do with the advocate of the rulers. Kangxi likes Shu Dong. He searched for Shu Dong's original works, wrote them himself and hid them in a secret cupboard. Shu Dong became popular in the south of the Yangtze River in the late Ming Dynasty. "Since being rewarded by the new dynasty, the price of sound has greatly increased. Taking the entrance examination in the temple, worshipping and chasing officials as shortcuts, the wind follows the trend and the incense is set in one statue." Moreover, Gan Long's calligraphy is very good, and he loves Zhao Shu very much. Therefore, "Xiangguang excused himself, Zi Ang took the lead, and Zhao Shu was highly valued by the world".
Qianlong worships Wang Xizhi's calligraphy very much, calling his "Sunny Snow Post" "a wonderful work", and he can copy it more than 100 times in his spare time. After Wang Xizhi, great calligraphers of past dynasties, such as Su Shi, Huang Tingjian, Mi Fei, Zhao Mengfu, Wen Zhiming and Dong Qichang, continued to write excellent works. Fiona Fang is used in Qianlong's ink painting, with proper white cloth, stable structure, and a combination of rigidity and softness, forming its own unique style. As far as calligraphy is concerned, there are many running scripts written by Gan Long, but many regular scripts and cursive scripts have been passed down from generation to generation. As far as the size of words is concerned, Qianlong not only writes large characters with the same height, but also likes to write small characters of flies. After ancient times, emperors generally stopped writing the fine print of flies. In the forty-nine years of Qianlong, he had a whim and wrote a poem for "Four Scenes of One Flag Hall". By this time, he was seventy-four years old. Gan Long's calligraphy is exquisite. Wherever he went, whether it was Saibei or Tingnan, Qilu or Zhongzhou, he left the round and smooth ink everywhere, but he didn't think he had reached the acme. On the contrary, he prostrated himself under the contemporary calligrapher Zhang Zhao, thinking that Zhang Zhao's books, big or small, are full of spirit and beyond ordinary people's learning. In Nostalgia for Ancient Poems, Wu and Zhang Zhao's calligraphy were highly praised: "Books are the heroes of rice, but they are especially good at it." After the reorganization of Dong, there is no weakness of Dong. A person after Xi, who can take care of it? "
Emperor Qianlong was most proud of his collection of dozens of calligraphy posts by famous artists of past dynasties. Wang Xizhi's "Quick Snow and Clear Post", Wang Xianzhi's "Mid-Autumn Post" and Wang Xun's "Yuan Bo Post" are the most precious treasures of Qianlong. In the 11th year of Qianlong, he named these three rare treasures "Sanxi Hall" in hall of mental cultivation Nuange.
In the second year, Liang, who was selected from the famous calligraphers in Tang, Song, Yuan and Ming Dynasties after Zhong You and Wang Xizhi, was born in a beautiful family and was good at calligraphy. He was named "Sanxi Hall Fa Tie" by Xerox, with a total of 32 volumes. These precious ink sculptures are embedded in the wall of Yuelu Valley Hall (now Beihai Reading Drum Tower). Later, the inkstones collected by Chu Suiliang and others were embedded in the "Mo Miao Xuan" wall of Huishan Garden. Thirty-four years after Qianlong's reign, he posted a rare Song edition.
In the 9th year of Yonghe in the Eastern Jin Dynasty (354), Wang Xizhi, Xie An, Sun Chuo and other 4 1 relatives and friends gathered in Lanting to hold a "Xiumao" grand meeting and write poems on the spot. Wang Xizhi's Preface to the Orchid Pavilion is a running script. Later, Emperor Taizong discovered it and appreciated it very much. He ordered some famous calligraphers to copy it. Unfortunately, the original preface to Lanting Collection was later buried in Zhaoling as a martyr of Emperor Taizong, and the stone carvings handed down from generation to generation were called "Dingwu edition" and "Kaihuang edition".
And so on, there are so-called "dragon copy", "dangerous copy" and "Chu copy" and so on. Whether it is true or not, there have been different opinions and lawsuits have emerged one after another. In the forty-fourth year of Qianlong, the emperor ordered four original copies of Preface to Lanting, which were collected by Shinan, Chu Suiliang, Liu Gongquan and Feng Chengsu in the Imperial Palace.
Of course, Gan Long was not confident in the inscriptions he collected all his life. He admits that because of the age, there is a difference between true and false. "If you say that appreciation is unhappy, you still can't believe it." In his later years, the emperor said that he had painstakingly collected and printed famous calligraphy posts all his life. "Although he said he was rich, he was rather tired and ashamed." I'm afraid I didn't mean it when I was disgusted and ashamed. If it is replaced by narcissism and boasting, it seems to be closer to the true psychology of Emperor Qianlong.
Liu Yong, the eldest son of Liu Tongxun, was called "sensitive and vigorous, never losing integrity for life" by Emperor Qianlong.
He was ambitious when he was young. In order to take an exam in the palace in the future and seek an official position, he had to take a fancy to calligraphy. He tried to learn from Zhao and Dong. The culture of a certain era is always restricted by the politics of a certain era. In the Qing Dynasty, since the ancestors, the style of calligraphy has gradually become rich and elegant. Dong Qichang's exquisite style of calligraphy, which is rich in ink and charm, has gradually become disliked by the world, while Zhao Mengshun's style of calligraphy, which is gorgeous in structure, vigorous in brushwork and rich in volume, conforms to the requirements of the times and is therefore cherished by people. When talking about Zhao Shuyun, Liu Yong said: "Wang Sun needs some time to adapt to the new century. The beauty of the Six Dynasties was defeated by General Jiang, and the gold powder can teach the pen to have a god. " This can be said to be his confession of moving to Zhao Shu under the conditions of the times. Before Liu Yong, Fu Shan talked about his experience in learning books, saying: "A weak crown can't learn the opening method of Jin and Tang Dynasties, and it won't work. It's just scattered snow and fragrant ink, which is beautiful, but it will be confusing if it is closer." Liu Yong is certainly not Fu Shan, but Zhao and Dong's books are easy to learn, which shows this point.
Although Liu Yongxue and Dong are one of their own, they both belong to the latter school. The book style of "Song Xue Xiang Guang" is not appreciated by people who later went to France, Jin, Wei and Beibei. For example, Fu Shan didn't know much about scattered snow, which led to the elimination of vulgarity in 30 years. He once said shamefully, "It's like learning to be a gentleman. Every time I find it difficult to weave, I fall in love with bandits and don't realize my relatives. Song Xue did not learn from the right army, and the result was shallow and vulgar, and he was as boneless as a colt king. His brain is broken and his hands follow. " In his later years, Liu Yong never complimented Zhao Shu. According to the report, Bao tried Liu Yong's visit to Jiangyin, and his fame and fortune have been very smooth since the Jin and Tang Dynasties. Liu Yong asked Bao to comment on the gains and losses of his calligraphy, and Bao said, "nave's books can be described as luxurious works." Liu Yong said, "My son, why should we treat old evils lightly? My book is better than others, and it can be said quite well. It is still far from being a teacher. "
This is probably one of the reasons why he moved to old age. Ganlong specially built Chunhua Xuan, hit the post of engraving Chunhua Pavilion on the royal stone, and distributed the rubbings to the princes to show respect and promotion of calligraphy in Jin and Tang Dynasties.
This may be the second reason why Liu Yong "moved to the old age". Zhong You of Wei, Wang Xizhi of Jin, Yan Zhenqing of Tang and Su Shi of Song are all famous artists. Su Dongpo, in particular, learned less from Wang Xizhi, and learned from Yan Zhenqing in middle age, with outstanding achievements. This is the third reason for Liu Yong's "aging".
Liu yongganlong was a scholar for sixteen years. After entering Ci, he was no longer infatuated with Dong and Zhao, but devoted himself to studying Yan, Su and Huang, and studied under Zhong and Wang. Because of his perseverance, hard work, forge ahead, and decades of skill, his posting skills are profound and impressive, especially thanks to Dr. Zhong Taifu's "Declaration Form". Because he was proficient in calligraphy since Wei and Jin Dynasties, he finally broke away from the stereotype and became a family of his own.
After seventy, Liu Yong was not satisfied with the achievements in the field of calligraphy, but devoted himself to the inscriptions in the Northern Dynasties.
This is the influence of the prosperity of primary schools on the rise of epigraphy. In order to use epigraphy to prove history, primary school teachers collect Jinding tablets everywhere. Many of these primary school teachers are good at calligraphy, such as Deng, Ruan Yuan, Bao and How. The increase in the number of stone tablets unearthed and the diversity of their calligraphy, especially Wei Bei's square, thick and simple style, have found a way for many calligraphers to get rid of stereotypes and give full play to their individuality.
Liu Yong devoted himself to the North Monument in his later years. He himself said, "Since he was young, he kept trying to beat others, but in the end he lost his mind. I am proud of dozens of Weibei boards, and I try my best to taste them, but I still feel that I am in the park. " It can be seen that although Liu Yong had a prominent official position in his later years, he was still not satisfied with his achievements in calligraphy and calligraphy, but was determined to forge ahead and intend to go to the next level. Although he was old, his energy had declined, he didn't go to the tablet for a long time, and he didn't get the essence of stele study. However, because he could see the truth of the Six Dynasties from dozens of inscriptions of the Northern Wei Dynasty and forced to taste them, the copy of the "simple place" of the Northern Monument could still reach the point of "similarity".
It can be seen that his persistence in the North Monument still has a positive effect on his calligraphy in his later years.
Qing, especially outstanding achievements. This is the third reason for Liu Yong's "aging".
Liu yongganlong was a scholar for sixteen years. After entering Ci, he was no longer infatuated with Dong and Zhao, but devoted himself to studying Yan, Su and Huang, and studied under Zhong and Wang. Because of his perseverance, hard work, forge ahead, and decades of skill, his posting skills are profound and impressive, especially thanks to Dr. Zhong Taifu's "Declaration Form". Because he was proficient in calligraphy since Wei and Jin Dynasties, he finally broke away from the stereotype and became a family of his own.
After seventy, Liu Yong was not satisfied with the achievements in the field of calligraphy, but devoted himself to the inscriptions in the Northern Dynasties.
This is the influence of the prosperity of primary schools on the rise of epigraphy. In order to use epigraphy to prove history, primary school teachers collect Jinding tablets everywhere. Many of these primary school teachers are good at calligraphy, such as Deng, Ruan Yuan, Bao and How. The increase in the number of stone tablets unearthed and the diversity of their calligraphy, especially Wei Bei's square, thick and simple style, have found a way for many calligraphers to get rid of stereotypes and give full play to their individuality.
Liu Yong devoted himself to the North Monument in his later years. He himself said, "Since he was young, he kept trying to beat others, but in the end he lost his mind. I am proud of dozens of Weibei boards, and I try my best to taste them, but I still feel that I am in the park. " It can be seen that although Liu Yong had a prominent official position in his later years, he was still not satisfied with his achievements in calligraphy and calligraphy, but was determined to forge ahead and intend to go to the next level. Although he was old, his energy had declined, he didn't go to the tablet for a long time, and he didn't get the essence of stele study. However, because he could see the truth of the Six Dynasties from dozens of inscriptions of the Northern Wei Dynasty and forced to taste them, the copy of the "simple place" of the Northern Monument could still reach the point of "similarity".
It can be seen that his persistence in the North Monument still has a positive effect on his calligraphy in his later years.