The most powerful god in the city

Someone asked, Qiu Chuji, a Taoist priest, has anything to do with this jade plate.

In fact, Qiu Chuji is a very powerful person, and he can be said to be an all-rounder.

Legend has it that he can "pinch gold like face, jade like mud", and was once named a high-ranking official by Emperor Yuan, in charge of the manufacturing organization.

Later, he was respected as the ancestor of the jade industry by the Kyoto Jade Industry Guild.

Qiu Chuji, this person, in the jade industry, is quite powerful.

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In addition to the jade plaque of Qiu Chuji, there are many other celebrity calligraphy and paintings.

For example, Huang Tingjian's "Great Compassion Post".

After Zhou Ye saw Huang Tingjian's work, he took it out alone.

Because of the Baibaoshan Museum, there are no works by Huang Tingjian.

It's really humiliating.

Huang Tingjian is also a celebrity in the history of Chinese calligraphy, and he doesn't even have his works, which is too low.

So Zhou Ye thought about taking Huang Tingjian's works to Baibao Mountain, at least to make the books in the Zangjing Pavilion more complete.

Huang Tingjian's character is Luzhi, the number of valley road people, the late number Fu Weng, Hongzhou Fenning people, the Northern Song Dynasty famous writer, calligrapher, the ancestor of the Jiangxi poetry school for a time, and Du Fu, Chen Shidao and Chen Heyi are known as "one ancestor and three ancestors". Together with Zhang Lei, Chao Buzhi, and Qin Guan, they all studied under Su Shimen, and were collectively known as the "Four Bachelors of Sumen". During his lifetime, he was as famous as Su Shi, and was known as "Su Huang".

He is the author of "Valley Words", and Huang Tingjian's calligraphy can also be unique, and he is one of the "Four Song Families".

Li Zhimin, a professor at Kyoto University and the pioneer of the introduction of monuments into grass, commented: "Huang Tingjian introduced the crane inscription into the grass, strong and elegant, and the realm is new."

For Huang Tingjian, Zhou Ye knew that the other party's calligraphy was very good.

But more than that, it's not about understanding.

Huang Tingjian is good at calligraphy and cursive writing, and regular script is also a family of its own.

When Huang Tingjian traced back to the Jin and Tang dynasties and studied the classic calligraphy of his predecessors, he had the greatest influence on Su Shi, and it can be said that Huang Tingjian's codex Xiaoxingshu was largely learned from Su Shi.

Huang Tingjian, as one of the "Four Scholars of Sumen", cannot be unaffected by Su Shi's style of writing.

In Huang Tingjian's book treatise, there are many Dongpo books, and most of them are highly respected. Su Dongpo is not only Huang Tingjian's literary teacher and promoter, but also a role model for his calligraphy.

Huang Tingjian and Su Shi are eight years apart. The two made friends and mentors. Judging from the ink of Huang Tingjian's Xinggang Codex that has been handed down to the present, its skimming and opening, the flat and broad glyphs, and the upward movement of the characters to the right all clearly show the characteristics of Su Shi's calligraphy, and even some exaggerated emphasis, but it is too jerky and not as familiar as Su Shupu. And Huang Tingjian used Zen enlightenment books to influence Su Shi as a mutual influence.

For example, Su Shi's "Prayer for Rain", the penmanship is very similar to Huang Tingjian, especially the number at the end, calm and elegant, the pen is loose, almost like Huang Tingjian's ghostwriting.

The formation of Huang Tingjian's style of writing in Kai Kai should be after he saw the cliff "Crane Ming" in Beijing, and continued to learn the law and breed milk and became his own family.

There is a misunderstanding in Huang Tingjian's "Crane Ming", that is, he regards "Crane Ming" as a book written by the right army, and he believes it deeply, so he tries his best to figure out the teacher's practice. However, it can be regarded as a crooked attack, which has promoted the formation of Huang Tingjian's spear and halberd, and his style of calligraphy. From an objective point of view, Huang Tingjian and Su Dongpo are calligraphers in the history of calligraphy of the Celestial Dynasty who surpassed the style of calligraphy of the Tang Dynasty by 800 years earlier than the Qing Dynasty and traced back to the pre-Tang Dynasty tablet or the combination of inscriptions. As for the origin of Su Shi's calligraphy, as long as we compare his masterpiece "Cold Food Poems" with Luoyang's "Twenty Products of Longmen", we can get a clear answer.

Huang Tingjian clearly advertised the teacher's method "Crane Ming".

Huang Tingjian's cursive writing was written by Zhou Yue.

Su Shi took Zhou Yueshu as "dangerous", and Mi Fu commented on Zhou Yueshu as "strong and sharp".

Huang Tingjian later expressed his views on Zhou Yue's calligraphy after his calligraphy and calligraphy ideas matured in a treatise on calligraphy: "Wang Zhulin's "Lanting" and "Le Yi Treatise", and Zen Master Buyong and Zhou Sanqi's "Qianwen" are all wonderful, and at the same time they are very good at using the pen. If there are thousands of books in the chest, and the book does not follow the world, then the book will not rhyme, and it will win Li Xitai, Lin and Jing. Those who are beautiful and sick rhyme, written by Wang, and those who are strong and sick rhyme, Zhou Yue - all of them are the sin of Qu Nong's chest, and the non-scholars are not effective. "

Undoubtedly, Huang Tingjian's deep understanding and mastery of cursive penmanship should be "Zhang Changshi, Monk Huaisu, and Gao Xian ink, which is a glimpse of the wonder of penmanship".

The maturity of Huang Tingjian's cursive writing also benefited from his comprehension of extra-book skills.

He has a self-saying that can explain the cause: "Yu Yu lives in the Xiyi Sitang of Kaiyuan Temple, and sits to see the rivers and mountains." Every time I make grass in this, it seems to have the help of the country. However, the long history and the mad monks are all leaning on and wonderful. Yu does not drink, suddenly fifty years, although he wants to do a good job, but the instrument is not good, the pen is always staggering, and the plan can not be restored as when he is drunk. "

Zhang Xu and Huai Su Zuocao both entered a state of irrational selflessness and ecstasy with drunkenness, swaying in a cage, often unpredictable and fascinating. Huang Tingjian does not drink alcohol, and his grass is all in his heart, and he writes with intention. However, its participation in Zen and wonderful understanding, although more rational to make the pen, can also open and close, gather and scatter, and enter the realm of swaying. And its pen, in contrast, is more calm and elegant, although the ups and downs, but also can be left everywhere, left everywhere.

Huang Tingjian's "Zhu Theravada Post" and other Buddhist scriptures and cursive scripts are really the ones who have learned the truth.

It is precisely because of this that Huang Tingjian has created a new realm of Chinese cursive.