Currently known as "Jiuhua Tie": one is a collection of the Qing Dynasty, which is now collected in Wuxi Museum, and was engraved in the "Sanxitang Fa Tie"; the other is a collection of Pei Boqian, which is found in "The Great Cheng of China Mo", and has been lost now; the other is a collection of Luo Zhenyu. According to research, only the three books are Luo Zhenyu's collection. This post has always been hidden in the palace as a treasure that the emperor reads. It has been entered into the Xuanhe Mansion of Emperor Huizong of Song and the Shaoxing Mansion of Southern Song. This book was collected by Zhang Yan in the Yuan Dynasty, and there was a postscript to Zhang Yan. It was collected by , Yuanbian and Wu Zhen in the Ming Dynasty. During the Qianlong period, the doctor of calligraphy who criticized the book and committed suicide by committing the crime of extermination, and exchanged the copy with a copy. The copy was left in the palace, which was the collection of the Qing Dynasty. The original copy later flowed into the people and was purchased and collected by Luo Zhenyu in the late Qing Dynasty.
There is also a book called "Lilac Flower Tie" in the "Lan Qianshan Pavilion" in Taiwan, which is now stored in the Palace Museum in Taipei.
Reference:
1. "Famous Posts Examination Paper" [Monograph], Mu Di, Tianjin People's Art Publishing House , 2006. It contains "Xiuhua Tie Series Examination". The literature on seals is excellent in textual research and is mostly conclusive.
2. "A Brief Record of Ancient Calligraphy and Painting (Sui, Tang and Five Dynasties Song Dynasty) Method 1" [Monography], Xu Bangda, Edited by the Palace Museum , Forbidden City Press , 2005.
3. "Question on "Jiuhua Tie Series Examination"" (paper), Liu Tieping.
Yang's self-evaluation:
Yang's poem "After the Brutal Posts in Huaisu" can be regarded as a summary of his own calligraphy creation experience: "I have been learning the simple story for ten years, and I learned about Wang Gong and Wei Fei. The sage of the cursive sage did not need to be released by wine, and the pen should be dissolved and transformed." (" Complete Tang Poetry " Volume 715)
is a partial comparison of the Qing Dynasty's Neifu version (left) and Luo Zhenyu version (right). All pictures use the same proportion, i.e. the same word size. Because of the collection of seals, the size of the pictures is different.
chronological reviews:
Huang Tingjian : (1) Writing poems praises: "The world learns all the faces of Lanting, and wants to exchange for the bones without golden elixirs. Who is it? Knowing Yang Fengzi in Luoyang, he went to the black silk railing. "(2) "Han Yang Shaoshi's , every word is not made into a subtle and wonderful, and it should be the two greatest masters of Luozhong with Wu Sheng's paintings." (3) "Since the Jin Dynasty, it is rare to have escaped from the wind and dust, and they are like the "Two Kings". Only Yan Lu Gong, Yang Shaoshi's is like a big ruler; people today respect the customs of Lu Gong, and the young master's lip is good but the belly is not. If you want to know Yang's calligraphy deeply, you should be like a horse in the nine-sided Gao, and leave it with its dark yellow and male to get it."
Mi Fu's "Haiyue Book Review": "It's like the wind and rain, falling paper clouds and smoke, and you can drift quickly."
Dong Qichang: "The young master's leek flower print is slightly scattered and orderly, which is different from the young master's calligraphy. However, the young master's style is better than the young master's style. "
Comments from past dynasties:
Huang Tingjian: (1) Commentary of the poem: "The world learns all the faces of Lanting, and wants to change the bones without golden elixir. Who knew that Yang Fengzi of Luoyang wrote to the black silk railing." (2) "The Yang Shao Master's calligraphy is full of words without any words." (2) "The Yang Fengzi of Yang in Yang wrote in a word." (2) "The Yang Shizhan's calligraphy is not a word. Creating subtle and wonderful works should be the two unique features of Wu Sheng’s paintings in Luozhong. (3) “Since the Jin Dynasty, it is rare to have escaped from the wind and dust, like the "Two Kings", only Yan Lu Gong, and Yang Shaoshi seem like a great ruler; people today respect the customs of Lu Gong, and Shaoshi's calligraphy is good but not good at writing. If you want to know Yang's calligraphy deeply, you should be like a horse in the nine-sided Gao, and leave it with its mysterious yellow and male to get it.”
Mi Fu's "Haiyue Book Review": "It's like the wind and rain, falling paper clouds and smoke, and you're dripping with your eyes."
Dong Qichang: "The young master's leek flower post is slightly scattered and scattered. It is different from the young master's calligraphy and the side of the calligraphy, but the side of the leek shape is the best place for the young master."
"The first thing to do is to write a leek flower post" in the Qing Dynasty: "The "Liud Flower Post" is a secret palace of Xuanhe. When you look at this original work, you will know the beauty of being in a strong and powerful way. The Jin people still have the rules. The valley is compared to "scattered monks into saints" in the mountains and valleys, which is not a false statement."
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Director丨Feng Cuo
Edit丨Anna Early morning
