The most powerful god in the city

Huang Tingjian's works are very rare, and even if you go to the auction house, you can rarely find them.

And it takes chance.

You know, the more fame, the fewer works.

Most of them are collected by collectors, and very few are taken out.

Zhou Ye's favorite is those that are scarce.

For example, the Qingming Riverside Map.

For example, the preface of the Lanting Collection.

But alas, no.

Just when Zhou Ye was sorting out the books and calligraphy and paintings, suddenly, a bright light burst out directly, and his eyes hurt a little.

"Wocao, my eyes, what is it", Zhou Ye was suddenly stunned, and hurriedly removed the treasure pupil.

Then look at the glowing object.

It's a roll of words.

The owner of this character is the famous calligrapher of the Ming Dynasty - Dong Qichang.

"No, Dong Qichang's works will be rarer than Huang Tingjian's works? Moreover, this light is too strong", Zhou Ye was a little puzzled.

He understands Dong Qichang.

He was a famous painter and calligrapher in the Ming Dynasty, very famous, but not as famous as Huang Tingjian.

Dong Qichang's name is Xuanzai, his name is Sibai, his alias is Xiangguang Jushi, and he is from Songjiang Huating. Minister of the late Ming Dynasty, famous calligrapher and painter.

In the seventeenth year of Wanli, he was awarded the Hanlin Academy for editing, and the official went to the Nanjing Ministry of Rites. Chongzhen nine years, died, and gave "Wen Min".

Dong Qichang is good at painting landscapes, learning from Dong Yuan, Ju Ran, Huang Gongwang and Ni Zhan, and his brushwork is delicate and neutral, quiet and sparse; With the Buddhist Zen Buddhism metaphor painting, advocating the theory of "North and South Sects", he is an outstanding representative of the "Huating Painting School", and has the beauty of "Yan Gu Zhao Zi". His paintings and theories had a great influence on the painting circles of the late Ming and early Qing dynasties. Calligraphy in and out of the Jin and Tang Dynasties, self-contained, can poetry. Li Zhimin, a professor at Peking University and the pioneer of introducing tablets into grass, commented: "Dong Qichang advocates learning from the ancient to become ancient, but the superstitious concept of calligraphy charm is more than that of the ancients." The surviving works include "Rock Dwelling Map", "Ming Dong Qichang Qiuxing Eight Scenes Atlas", "Dayjin Hall Map", "Bai Juyi Pipa Xing", "Cursive Poetry Book", "Yanjiang Stacked Peaks Map" and so on.

He is the author of "Essays on Painting Zen Room", "Rongtai Anthology", "Xihongtang Post" (engraved post) and so on.

Don't talk about his paintings, only his calligraphy.

Dong Qichang's calligraphy absorbs the essence of the calligraphy of the ancients, but does not deliberately imitate it in handwriting, and has the beauty of "Yan Gu Zhao Zi".

Dong Qichang's calligraphy achievements are very high, Dong's calligraphy is the highest in cursive writing, and he is also quite conceited about his regular script, especially the small Kai. Although Dong Qichang was in the era when Zhao Mengfu and Wen Zhengming's calligraphy was prevalent, his calligraphy was not blindly influenced by these two calligraphy masters.

His calligraphy is a combination of the styles of the Jin, Tang, Song and Yuan dynasties, and is self-contained, with an elegant, ethereal and self-sufficient style of calligraphy. The stroke garden is beautiful and elegant, plain and simple. In the chapter, between the words and the words, between the lines and the lines, the layout of the branches, the sparse and symmetrical, and the ancient law is pursued. The use of ink is also very particular, dry and damp, and it is wonderful.

Calligraphy to Dong Qichang, can be said to be the culmination of the ancient law, "six bodies" and "eight laws" under his hands are all refined, at that time has been "famous in foreign countries, ruler Su short book, spread in the world, compete for treasures." ("History of the Ming Dynasty: The Biography of Wenyuan").

Until the middle of the Qing Dynasty, Kangxi and Qianlong took Dong's book as the patriarchal method, and they respected and favored it, and even copied Dong's book in person, often listed on the motto, and watched it in the morning and evening. Kangxi once praised his ink inscription with a long paragraph: "Huating Dong Qichang's calligraphy is very different. Its high and mellow style is popular among Chu Mo, which is beyond the reach of all families. Whenever you are inadvertent, the abundance is unique, such as the breeze blowing, the slight clouds roll up, quite natural interest. Looking at its structural fonts, they all originate from the Jin people. Gai Qi's life is mostly in the "Pavilion Post", in the "Lanting" and "Holy Religion", he can get the method of his wrist, and turn the pen to hide the front, which seems to be clumsy and ingenious. ...... Yan Zhenqing, Su Shi, Mi Fu is good at pulling out the strength of the steep, and the bottom is from the Jin people. Zhao Mengfu is especially the second king of scale. Its Chang origin is one, so it is copied by the sons of the people, and the air of Xiu Run, the true colors are seen at the same time. Cursive writing is also arranged vertically and horizontally, and I appreciate it very much. The use of ink is wonderful, and the shades are alternate, and it is even more exquisite. Copying the most, each is said to be excellent in Tianzi skills, and it is not easy to be good. "

It is said that Kangxi also personally wrote Dong Shu, which made Dong Shu all the rage, and there was a boom of learning Dong Shu in all dynasties. Almost all the scholars who chased fame for a while took Dong Shu as a shortcut. On the occasion of Kangxi and Yongzheng, the influence of his calligraphy was incomparable to that of other calligraphers.

Dong Qichang did not leave a single monograph on books, but his experiences and ideas drawn in practice and research are scattered in a large number of his inscriptions. Dong Qichang famously said: "The Jin people take the rhyme, the Tang people take the law, and the Song people take the meaning." "

This is the first time in history that a calligraphy theorist used the three concepts of rhyme, law and meaning to delineate the aesthetic orientation of calligraphy in the Jin, Tang and Song dynasties. These views have played a good role in explaining and guiding people's understanding and learning of classical calligraphy. Dong Qichang has been diligent in calligraphy and painting all his life, and enjoys a long life, so he has many works, including "Bai Juyi Pipa Xing", "Yuan Ke Lihai City Poems", "The Third Order", "Cursive Poems", "Yanjiang Stacked Peaks and Maps", "Ni Kuanzan", "Before and After the Red Cliff Book" and so on.