Gu Cun said, "It is quite lonely to write Zhangcao, so let him be lonely." Mr. Xiao Yunchun, who has been committed to the study of Zhangcao calligraphy and Song Dynasty literature for decades, is over 90 years old. He is simple and quiet, just like the calligraphy in his writing

Gu Cunyan

"Writing Chapter Cao is quite lonely, so let him be lonely." Mr. Xiao Yunchun, who has been committed to the study of Zhangcao calligraphy and Song Dynasty literature for decades, is over 90 years old. He is simple and quiet, just like the calligraphy in his writings. In addition to the elegant and ancient quality, a calm and leisurely spirit and a bookish spirit come to his face. Mr. Xiao Yunchun may be regarded as the "living fossil" of Chinese local sage culture: he has lived in his hometown for many years, was content with poverty and enjoyed the way, watched over the local cultural context, read in a lonely way, and entertained himself with poetry and articles. Behind the lack of knowledge and knowledge is the inner self-confidence and fulfillment, and the true nature of a scholar. The column "Impression of the Elderly Masters" launched by "The Paper·Art Review" (www.thepaper.cn) interviewed Mr. Xiao Yunchun not long ago. When it comes to calligraphy, his first sentence was when he was young, he heard what his teacher Zhang Pengji said to him: "'You must learn poetry and ancient prose well. As for calligraphy, you can take it slowly.' This sentence has benefited so far."

Mr. Xiao Yunchun sketched by Gu Cunyan Picture

"It is quite lonely to write about Zhangcao, so let him be lonely." 20 years ago, Mr. Xiao Yunchun, who is in his seventies, said in a letter to his classmate Xie Yun.

words seem to be casual, but they witness a huge concentration and tension.

To this day, Mr. Xiao Yunchun is over 90 years old, simple and quiet, his hands occasionally tremble when he speaks, but his tone is firm and decisive, and he has a flying momentum inside, just like the calligraphy in his writings, without the new style. In addition to the elegant and ancient quality, a calm and leisurely spirit and bookish spirit come to his face.

Such an old man does not seem to belong to the present. His superficial and simple appearance, and his inner madness and dissatisfaction are different. Just like his own poem many years ago: " " Crazy songs are drunk with thousands of cups, and the fragrance of graceful books is advancing and retreating; when he realized the ancients' exquisiteness, there is no second or king."

Mr. Xiao Yunchun's old quatrain on calligraphy: He sang with thousands of cups, and the fragrance of graceful books is advancing and retreating; when he realized the ancients' exquisiteness, there is no second or king.

From a certain perspective, Mr. Xiao Yunchun, who lives in a corner of Cangnan in Wenzhou, may be regarded as the "living fossil" of Chinese local sage culture: he has been living in his hometown for many years, enjoying the path of poverty, watching over the local cultural context, reading lonely, entertaining himself with poetry and articles and grass, and being at peace with the circumstances, I am myself. However, on the other hand, from the collection and compilation of folk literature and rural documents, the study of Song Dynasty document notes, and even the friendship with scholars such as Qian Zhongshu , the cultural vision is broad and broad. Behind the lack of knowledge and knowledge is the inner self-confidence and fulfillment, which has truly achieved himself and maintained the true nature of a scholar.

"When you hear a lot of people with good hearts, you will be happy to count the morning and night." In the long history of Chinese, local sages have made great contributions to preserving Chinese culture. However, with the various movements and changes over the past century, the culture of local sages has long declined.

This also shows the value of Mr. Xiao Yunchun.

From the age of thirteen to learn ancient Chinese and calligraphy with Mr. Zhang Pengji, a famous Wenzhou native, to now a 90-year-old man, Mr. Xiao Yunchun’s favorite is actually books. He loves books, is obsessed with books, reads, writes books, and does not put down the volumes, and enjoys it. When he talked about calligraphy, the first sentence was what Mr. Zhang Pengji said to him when he was young: "You must learn poetry and ancient prose well. As for calligraphy, you can take it slowly." This sentence reminds me of what he said when he was talking to Mr. Zhang Rushi many years ago. " did not have the three words "calligrapher" in the past. My obsession with calligraphy is because of my obsession with Chinese culture. A person must first be morality, personality, articles, and then 'if he has the strength to do it,' in this way, the ink traces behind him can be treasured by the world." The first sentence is said in a low-key and confident manner, and the second sentence is said in a loud and profound manner, but it is also the same confidence.

From the collection of essays about literature and history of the Song Dynasty, "Su Dongpo's Hat" and "Man's Hair-Wearing Flowers" published many years ago, we can see how profound his skills and learning are. These books are essentially different from the books of scholars who are good at being tall and tall. These books are all sent by Mr. Xiao Yunchun's interests and temperament, and also originated from his love for Mr. Dongpo and Song Dynasty essays. In the "Afterword" of the book "Man's Hair-Wearing Flowers", he recorded: "In 1960, I saw Mr. Qian Zhongshu's "Selected Notes on Song Poems" and even the notes were read three times and four times. Suddenly I recalled a very famous metaphor of Gu Yanwu: picking copper in the mountain. From then on, I also became a habit of reading and copying books. Three years ago, I felt that I needed to find some fun, so I turned out the notes, cards, indexes, and notes over the past few years to try to write some notes... These are the three articles in this collection."

is just as Mr. Jin Jiancai, an older generation calligrapher in Zhejiang, said: " Calligraphers are the rest of the article, and writing is used to carry the Tao. Therefore, calligraphers from ancient times have all based on classics and techniques. When writing them, they will naturally be as comfortable as they wish. If Mr. Xiao lives in the village, without the labor of running around and competing, and the heart is not burdened by profit and fame. He holds books, writes and inkstones in his day, and is clear and clear, and he is really a unique scholar. Therefore, there is no one who does not conform to the Tao but is in line with the rules. Some say that Zhangcao is very difficult, but it is not difficult for Mr. Xiao."

Because he lives in a small city, Mr. Xiao Yunchun does not have much contact with famous artists in the cultural world, and he is very simple and very low-key. However, this precipitates the true tranquility of his calligraphy, and embodies the simple and clean room in his heart.

Calligraphy seal engraver and scholar Liu Yiwen once wrote an article that "From the expression style, Xiao's works generally focus on literati calligraphy. In the words of brush and cloth, there is no such thing as the so-called calligrapher spirit that people are familiar with. It is true that they are both true and straightforward, and they are both strict and strict, and they are not limited by them. From the perspective of calligraphy, this is an artistic realm that is difficult to find. "

Xiao Yunchun's calligraphy

I remember about ten years ago, I don't know whether it was Si Shunwei or Chen Wei, and sent the collection of works by Zhejiang Art Museum of Art "Calligraphy Style·Shufeng" Zhejiang Calligraphy Masters Exhibition "Calligraphy Style·Shufeng" compiled by Zhejiang Art Museum There are 12 older generation calligraphers from Zhejiang, including Liu Jiang, Shen Ding'an, , Xiao Yunchun, Ma Shixiao, Zhang Zuan, Lin Jiandan, , among which Mr. Xiao Yunchun's Zhangcao is impressive with its unique atmosphere; later, he received the "Collected Works of Xiao Yunchun" published by Zhejiang People's Fine Arts Publishing House, , which contains a comprehensive collection of works. After reading it, he has learned the ancient meaning, neither exciting nor sharp. In addition to Shen Zengzhi, he actually read some of the taste of Mr. Ma Yifu, especially the peaceful and light breath, which is completely free of the impetuous and fishy smell that some so-called famous artists in the current calligraphy world have come to face. However, the brushwork is strange and steep, turning, and plain in a dangerous place. The mentioned in Zeng Xiping's calligraphy, "'s beauty lies in life, but it is instability to overcome others." It seems that it can be understood vaguely when used in Mr. Xiao Yunchun's words. I feel that this style of calligraphy is especially suitable for literary paper or couplets, such as the 84-year-old calligraphy works such as "Song of Excerpts and Evaluation", Zhangcao "Preface to Lanting", "Self-written Poems", and some couplet calligraphy. It is really full of paper and plain. If you deliberately enlarge the exhibition halls used in modern halls, it seems that the aura is not suitable.

Xiao Yunchun's calligraphy

Mr. Xiao once Chen Qizhangcao originated from Huangxiang, Zhong Yao , Suo Jing , Huang Daozhou, etc., and was greatly influenced by Shen Zengzhi and others in modern times. He also said: " What I pursue is how to write the flavor of running script to create the flavor of Zhangcao. There are Yang Weizhen , Huang Daozhou, and Shen Zengzhi. "

This also reveals that his Zhangcao focuses on the combination of inscriptions and calligraphy, and may be more inclined to the same lineage of calligraphy, and his breath seems to be close to the Song people he likes.This is just like Shen Zengzhi's Zhangcao, who draws on Han Li, and uses bamboo slips , Tang people's scriptures, "Er Cuan", Huang Daozhou, etc., have been integrating steles into posts, especially in the Song Dynasty Mi Fu's "eight-sided tip" brushwork in the Song Dynasty , Mi Fu's "eight-sided tip" brushwork in , " rolling over and circling, and interesting." Mr. Xiao Yunchun's Zhangcao is inheriting this path. However, due to the different life experiences and realms, Mr. Xiao Yunchun's calligraphy is more indifferent and lighter, which is different from Shen Zengzhi's brushwork, which is extremely heavy, vertical and horizontal, and ups and downs, and is even more different from Wang Luchang's Zhangcao, which combines classics and casts history, searches and traces the ancients, and has a strong flavor of gold and stone.

This may also be a difference in your mind - after all, Mr. Xiao has always lived in a remote town in southern Zhejiang and is content with a simple and ordinary life.

Mr. Xiao Yunchun once said: " No matter whether it is talent, learning or knowledge, I can't do it. I am a hard school. Because I like it, I learn and use it as a pleasure in life. Learning calligraphy is similar to such a stupid way. Some posts have been copied for five or ten years in a row. I don't want any effect. This is not that I am not in the world, nor that I have any special cultivation. It is just because I live in a remote county and have few opportunities to come into contact with celebrities or provide timely information feedback. People living in such an environment must have a slower pace and less fun. I want to be simpler. Whether it is for ancient people or modern people, no matter how beautiful his calligraphy is, no matter how beautiful his calligraphy is, I like it. But I only ask myself not to write too 'earth', and it's enough to be a little bookish. But there is a kind of 'style' I don't like: I rush and scream, and when I look closely, I have nothing." ("Thank you Yun")

Xiao Yunchun's calligraphy

--For such ordinary and plain words, and for such simple old people who do not seek knowledge and are dedicated to reading and art, I always feel an inexplicable intimacy.

html More than 0 years ago, Brother Chen Wei made an appointment to visit Mr. Xiao, but there were too many redundant things, so he delayed it again and again. Not long ago, Chen Wei said that Mr. Xiao was already ninety years old and he didn't talk much now. "In the past, we met Mr. Wang and were listening to Mr. Xiao. Now most of the old people are quiet listeners. Come over early when you have time and try to talk to him."

So he finally got along with Wang Li, had a trip to Wenzhou, and had an intermittent conversation with Mr. Xiao Yunchun.

That day came to Cangnan . Surprisingly, the first ones I met were Mr. Xiao’s students and friends, including Huang Shouyao and Li Yan who came from Hangzhou, as well as Huang Jiansheng, Yang Deting, Chen Si, Xiao Yunji, Li Xiang, Liang Yuanfu, Wen Zuoshi, etc. in Cangnan and Pingyang . People feel the true flow of the context of Yongjia and the simplicity and warmth at the foot of Yandang Mountain.

"Half Study Room" written by Xiao Yunchun first

dialogue is in the "Half Study Room" not far from Mr. Xiao Yunchun's residence. The ancient wooden plaque is naturally written by Mr. Xiao Yunchun. It is ancient and ethereal. On the wall of the tea room inside, there are the words "Jiahe" in the horizontal scripture. This is Mr. Xiao Yunchun's new work in the Gengzi year - both the flavor of Cuan Baozi and the flavor of the grass. The work of the ninety-year-old work is full of energy and elegant, and the signature is: "Xiao Yunchun, forgot to say something, is 90 years old."

Appreciating the pen and ink, Mr. Xiao Yunchun, who had taken a nap, was supported by several disciples. He was not tall, with silver hair on his head, thin and thin, smiling slightly, and seemed a little shy, but his eyes were extremely bright and his face was slightly rosy, which made people feel transparent and warmth.

Xiao Yunchun (middle) who lives in Cangnan and his disciples and friends

Because there are many people sitting there, they chat with his husband naturally, mixed with Wenzhou, Minnan, and Mandarin. Sometimes they need to translate. Every word you say and I say a lot, a lot of past events come one after another, and from time to time there is a hearty laugh, a rare warmth and family affection in the air, and an inexplicable sense of pleasure.

When Mr. Xiao was drinking tea, he always kept the tea cup far away. Chen Wei smiled and said that it was caused by Teacher Xiao's obsession with cleanliness. "He must have two pairs of chopsticks when eating, and he opened the cigarette box to smoke cigarettes. He said he must be calm when writing."

talked about the past of those books when he was young.

recalled what his teacher Zhang Pengji said: " read first, and calligraphy can be taken slowly." Xiao Yunchun said before: "This sentence has benefited so far, because it represents the view of that generation of people on calligraphy. Calligraphy has been in the past twenty or thirty years. That generation advocated that one should first improve one's own cultural taste, and then calligraphy can be improved. Just like learning poetry, Lu You said: Kung Fu is beyond poetry. If a person with very low cultural taste, even if his skills are very good, he will be a vulgar book."

For old-style poetry, he said that he had written a lot before, but now he basically doesn't write it anymore. Zhang Pengyi Mr. Du Fu, the poet, was a poet. He liked to learn from Du Mu; Su Yuanlei, a well-known literary and historical scholar from Wenzhou, published "Quatrical Quatrains on Books" in the 1980s. The postscript specifically recorded: "A short comment was added during the manuscript. If there is no preparation, the Qian Xiao Junyunchun will be supplemented."

There was a past where he sang with Xiao Yunchun's poems: In the spring of 1974, Su Yuanlei, who was placed in Pingyang, made an appointment with two other poets. I went to the countryside to visit Xiao Yunchun, but I didn't meet him, so I stayed at Xiao's family. The next day, each left a poem to say goodbye. After Xiao Yunchun returned from home, he said, "Huayue Daizong is not enough to discuss, but now I feel that there are other mountains. The poem is shocking to the wind and rain, and the pen is left with traces of snow. After fishing for fishing, the fisherman still controls the water, and the talented men are fascinated. The three of them dream of meeting me, and they closed their doors and opened their books in Yanshui Village." Ten years later, Su Yuanlei went to Cangnan to visit Xiao's family and wrote another couplet - "The West Wind Homeland Xiao Family Du" and wrote another couplet - "The West Wind Homeland Xiao Family Du Night rain and autumn lights in Baishi Village”.

Shen Zengzhi "Seven-character couplet for the scale and heroic spirit" Jiaxing Museum collection

For Shen Zengzhi, who influenced his calligraphy very deeply, Mr. Xiao Yunchun recalled, "When he was young, he was instructed by his teacher, he liked Shen Zengzhi and Ma Yifu. One day, he saw a broken calligraphy scroll at an antique stall. After opening it, it was a couplet of Su Shi Collection of Su Shi: ' How can the romantic love fall into others? It's so wonderful that he wants to be so beautiful.' The letter signed the word "Meisu". The price was very low at that time. Unexpectedly, it was a deal. After returning, he hung it on the wall to observe it every day, until it was burned during the movement in the 1960s."

The surprise of the first encounter with Shen Meisou's calligraphy in his memories is beyond words. However, such a work that is crucial to his calligraphy journey was burned. In fact, compared with the large number of "four olds" that were destroyed in that era, Mr. Xiao Yunchun was just worried and raised his finger and swore, "If I go underground in a hundred years, I will have to find the highest in charge of that year to retrieve this letter!"

This is a bit like an old man's childish anger, but it contains the anger and accusation of a plain and gentle scholar of that era.

When we were having a date together, Mr. Xiao Yunchun had always been a peaceful and gentle nature - it seemed that he was just a loyal listener, listening to a group of disciples chatting with friends about calligraphy and past events, immersed in it, but did not interrupt, occasionally, just smiled slightly.

A corner of Mr. Xiao Yunchun's study

Mr. Xiao Yunchun's "Fenghuo Building" is on the second floor of a nearby house. Go upstairs and is decorated clean and refreshing. The complete set of "Notes on the Song Dynasty", "Su Shi's Collection of Essays", "Su Shi's Chronicle Biography" and so on in the bookcase are particularly eye-catching. What's interesting is that there is another neatly coded "The Year of Chinese Prose Selection" in previous years, etc., and there is a poem given by Qian Zhongshu on the wall:

"Work to watch riding a donkey into the sword gate, and Baiyong lets the boat out of Qu Gorge.

Poetry becomes a different song and is surprised to be a fellow master, and you can paint the predecessors lose a trick.

bold and pure and meticulous, and the state is far and wide and the rhyme is far and endure to study.

squid wind, tiger, cloud, dragon, frost, bell, moon, flute sounds."

squid "Recent writings present Yunchun Poetry Song", stamped with two seals "Qian Zhong Shu Seal" and "Silent Clothing".

Mr. Qian Zhongshu presented Mr. Xiao Yunchun with a poem

Speaking of his interactions with Mr. Qian Zhongshu, Mr. Xiao said that when he was deported, he read Qian Zhongshu's "Selected Notes on Song Poems" and was very impressed. Later, he had letters and did not want to mention them much. Chen Wei introduced that Xiao Yunchun and Mr. Qian Zhongshu have been constantly in contact with each other because of Song poetry for decades. "The first time they dated was in 1966. During Xiao Yunchun's resignation, he occasionally read "Selected Notes on Song Poems" at a friend's place, so he asked about Qian Zhongshu everywhere. Later, he simply wrote a letter to the Literature and History Press and asked the publisher to submit it.I didn't expect that after half a month, I received a reply from Qian Zhongshu. Since then, whenever Qian and Yang have published new works, they will send them to Xiao Yunchun. Qian and Xiao also reward each other. To this day, Xiao Yunchun has dozens of letters and poems written by Qian Zhongshu. Qian Zhongshu also became the person who influenced his lifelong reading. He often said that after reading Mr. Qian's works, he became honest in his reading, and copying became a habit, and no longer used the "Huaisu View" to read it. From Qian Zhongshu, he experienced his extensive academic interests and the literary and artistic talents of "opening up".

He once wrote nine poems on "Quatrical Quatrains on Poetry" to explain his poetic views. The seven ' There is a poetic soul everywhere in the country, so how can you limit the Ba Bridge and Jianmen? After capturing alive and capturing naked, riding a donkey may not be a poet. After reading it, Qian Zhongshu wrote a letter and commented on the four words "Yi Xin Yu Jian", and a poem was added to it. The poem says: "The thunder drives away the rain and sings thousands of strange things, and the swallows sing and orioles sing suddenly clears up. Billions of poets clapped their hands together, and urgently searched for strange sentences to capture the sound of spring. ’”

When he took out "Su Dongpo's Hat" and asked the old man to sign, he asked Chen Wei to write the above article again with a brush, and then he took out his own signature in the calligraphy collection, writing it one by one, "I am old and have a bad memory. I also hope that my words have changed a little, but now I can only copy it stupidly and write it honestly. "

Xiao Yunchun's manuscript "Talk the Arts and Houlu" partially

Mr. Xiao Yunchun dug out a manuscript "Talk the Arts and Houlu" customized in the 1970s. When he looked closely, the vertical characters copied by the pen were simple and light, which made people feel refreshed. Among them, there are articles such as "Talk the "Explanation"", involving philology, poetry, calligraphy, etc.

probably did not print at the end, and such customization There may not be any more since the manuscript was copied.

When I remembered this, I looked at Mr. Xiao Yunchun again. Amid the gang of disciples, the old man was already wearing glasses and sat by his desk, reading "Tanyi Houlu" as if no one was immersed in his mind.

is quiet around him.

(In Shanghai in the twelfth lunar month of the Gengzi)

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Dialogue | Xiao Yunchun: I always remember "Learn poetry and ancient Chinese first, and take your calligraphy slowly"

Mr. Xiao Yunchun read his manuscript "Discussion on Art"

Pengpai News: Hello, Teacher Xiao, would like to ask you to talk about some of your experiences in learning calligraphy when you were young? Including your interactions with Mr. Zhang Pengyi.

Xiao Yunchun: When I was 13 years old, I went to Pingyang Middle School to study junior high school. Zhang Pengyi came to teach us Chinese. After decorating the composition one day, I tried to write an article about classical Chinese. He read it and said: You, a country kid, are not bad. Another time when I copied the cylindrical couplet in the school auditorium on my notebook, Mr. Zhang Pengyi saw it and asked me: "How come my handwriting is with you? "I said, "I came from a cylinder. "After this, he asked me to go to his house and teach me calligraphy. However, when he arrived at Mr. Zhang's house, he said to me solemnly: "You must first learn poetry and ancient Chinese, and as for calligraphy, you can take your time." "Then, I gave me a book called "Yizhou Shuangji" and said: "Read it slowly, and if you don't understand, you will understand it one day. "From then on, I did what Mr. Zhang said, read first, read more, and in terms of time arrangement, the proportion of reading is more than practicing calligraphy. This has been the case for decades.

The Paper: You once said that you hope to pursue the bookish spirit in calligraphy. Zhang Pengyi emphasized the distinction between clear and turbidity of calligraphy. How do you understand it now?

Xiao Yunchun: Mr. Zhang is my mentor. When he commented on calligraphy, he first emphasized the distinction between clear and turbidity, saying that turbidity cannot be cured. There is only one way to learn to distinguish clear and turbidity, which is to use the names of all dynasties. I read and chewed my calligraphy carefully, and over time, I naturally understand the truth. His teachings have benefited from this. Mr. Zhang mainly focused on writing the cursive script, and traced back to the Two Wangs from the Book of Calligraphy. He did not like students to learn his characters, so I followed him to learn the "Two Wangs" for a few years, so I transferred to Zhang Cao. All the cursive scripts, no matter how many people write small, or occasionally write a few words, such as Cai Xiang , Liang Qichao , also copied it. There are few ink lines, but it is indeed well written like a square pot, and I copied it from time to time. My regular script also transferred to Zhong Yao.I have been studying Huang Xiang, Zhong Yao, Suo Jing, Huang Daozhou, and Shen Zengzhi for a long time.

Yuan Mei once compared a certain kind of poetry to the regular script of the three halls. It is not neat and there is no point in seeking the best of it until death. Since you can write neatly, you must have some skills, so why can't you arouse artistic interest? People who write such words must not read much, cannot understand the origin of calligraphy, and cannot even distinguish between elegance and vulgarity, and they have no chance of being the scroll. When copying the calligraphy, the ancients temporarily decided in their minds and wrists, and accidentally stole some artistic conception of the ancients, so it was barely impressive. Once you leave the ancients, you still have your own brains and wrists, and you will appear ordinary, just vulgar and craftsman. There is actually a reading problem here. Of course, calligraphy does require the nourishment of knowledge, but if you read a lot of books, can you definitely write your words well? That may not be true.

Xiao Yunchun’s calligraphy

The Paper: may also have a topic of whether you can read, reading to nourish your spirit. The "seeds of reading" mentioned by the ancients refers to talent, but in fact, you should also pay attention to reading methods. What are your reading methods?

Xiao Yunchun: Reading must be done notes. When I was young, I read Mr. Qian Zhongshu's works and became more honest in my reading, and copying became a habit. I read some historical documents of the Song Dynasty and took some notes.

Chen Pingyuan said that in doing academic research, it is not necessary to be a first-class talent. A talented man may not do well, and of course he can't do it too stupid. It is assumed that it is a second-class or medium-sized material. If the method is right and over time, you can learn. And it is a relatively large knowledge. The talented man disdains to take steps one by one, and thinks it is too difficult and always wants to take shortcuts. The difference between poets and scholars is that without talent, one will definitely not be able to write good poems, but without talent, one will not be able to do knowledge. Recently, I read the newspaper and thought that "no talent is virtue" in the current calligraphy world, and this is the reason. Huang Zongxi once asked Qian Qianyi: "If you use the words of the Six Classics, you cannot understand the classics."

How to combine knowledge with calligraphy? This is very mysterious. I can’t tell you what the hell is. I think it is very necessary to read more books. If I can't explain the "mysteriousness", I will talk about a very practical example. For those who are good at calligraphy, if they ask you to write a postscript, if you don’t read, you can’t write the postscript, and you will make a joke if you write it.

The Paper: You specialize in Zhangcao, how do you read your own style of calligraphy now? You have mentioned the study of Fangfanghu calligraphy in the Yuan Dynasty, which is very unpopular because he is named a painter and there are not many calligraphy in the world.

Xiao Yunchun: The characters of square pot are found in the title painting. I have copied a lot for a while. I just like Qingyi more when writing. Some people hope that my handwriting will be written with great strength, but that won’t work, I can’t. I also hope my words have changed a little. Now that I am too old, I can only write honestly.

is indeed lonely to write about Zhangcao. Regarding Zhangcao, there are some opinions that said in the reply letter to student Huang Shouyao about teaching Zhangcao to learn more than ten years ago, but there is no change now. In general, you should read more, identify more, and practice more.

(Appendix: For the Emperor's Elephant "Jijuzhang", almost all those who learn to write the chapters should copy it. They should write it broadly and roundly, and pay more attention to it. The Songjiang version is best, and the Ming Tuo Ji Zhenlou copy is also good. You can refer to the Yuyantang version. There are many chapters and cursive characters in the unearthed bamboo slips. Because the bamboo slips appear in different places and are mixed with ancient clerical scripts, they must be separated. If this kind of chapter and cursive script can be written back to the simplicity, it is very difficult to write a special beauty (if you want to write it more vividly, you can refer to the Tang Dynasty's scriptures "The First Copy of Master Ke". Mr. Shen Zengzhi first learned the calligraphy, then the stele, and finally the stele and the stele and the stele and the stele is combined. . His Zhangcao is understood from a variety of official scripts, and the Han simplified Chinese scripts cannot refer to the one or two types. There are very few pure Zhangcao works, and they can only be understood from his last few years of cursive scripts. Song Ke Chapter 3 is self-consistent and has personality, but cannot be written too exaggeratedly. Yu He "The Poems of the Preface of Lanting in Dingwu" and "The Preface of Guo Yong's Preface of Lanting" are helpful when copying. In the late Ming Dynasty, such as Huang Daozhou and Fu Shan , they all wrote Zhangcao, but their personality is too strong, so you can only read it. Only some words in Wang Duo's "Peach Blossom Tie" can be copied.)

The Paper: When you were young, you accompanied Mr. Fang Jiekan to find "Jin Zhu Man's Wife Xue's Land Buying Coupon". Can you introduce it?

Xiao Yunchun: "Zhen Zhu Man's Wife Xue Buys a Land and House" was engraved in the fourth year of Xiankang in the Eastern Jin Dynasty (338). It is now a national first-class collection. In 1953, Mr. Fang Jiekan, then deputy director of the Wenzhou Cultural Administration Committee, made a special trip to Pingyang to find the original stone for buying land coupons. The first time I accompanied him, I couldn't find it everywhere, and I found it the second time. Later it was collected in Wenzhou Regional (City) Cultural Relics Management Committee, and is now stored in Wenzhou Museum . I collaborated with Yang Ben in 1985 to write an introduction article:

1953, Mr. Fang Jiekan, deputy director of the Wenzhou Provincial Cultural Administration Committee, came to Pingyang to find this original stone "Zhen Zhu Man's Wife Xue Buys Land and House Voucher". Xiao Yunchun, one of the authors of this article, accompanied him to Yishan due to his position. Before the trip, I made a thorough analysis: I believe that the Chen family (local scholar Chen Xichen, whose courtesy name is Xiaoyao) is knowledgeable and well aware of the value of this monument. Just look at the gifts given by him (Wu Chengzhi is a textbook master, Sun Yirang is a master of Pu Xue, Mao Guangsheng is a well-known figure in the country, and Liu Shaokuan is also a local scholar), we can see how Chen attaches importance to this monument; and Chen is a gentry in this county and has special influence in Jiangnan (now Yishan, Qiankuang, Jinxiang). If you want to purchase this monument, how dare the excavators not follow it; and it is even more impossible to enter a new monument after it is unearthed; according to local superstition, this is owned by the old ghost, so how can you share it with the new ghost? It can be seen that these words are excuses. "Di Zang" is still in the Chen family, but it has been 53 years since its unearth. Has the Chen family resold or damaged? It is probably not because the Chen family has a permanent property and is "scent of calligraphy for generations". His son is also very good at calligraphy and is very skillful in writing the Northern Stele. From many aspects, the conclusion of existence is affirmative. However, the descendants of the Chen family all lived in other places, and there were many rooms in the old house. They could not find this monument everywhere, and only the land was not yet built because they had no idea how to start. Mr. Fang Jiekan then returned to Wenzhou and asked the Chen family members in Wenzhou to recall and provide clues. When I came to Yishan for the second time, I took it out from under the floor of the old study and transferred it to the Wenzhou District Cultural Management Committee. From then on, the "Zhen Zhu Man's wife Xue Buys a Land and House Voucher" that had been in a fortuitous manner for decades returned to the world.

"Jin Zhu Man Wife Xue Buying Land and Home Coupon" Rubber

Jin Zhu Man Wife Xue Buying Land and Home Coupon

The Paper: I read the folk literature you collected before? I heard that in addition to writing poetry and calligraphy, you have also written novels and "The Biography of Su Dongpo" before?

Xiao Yunchun: I like classical literature. When I was young, I worked in the cultural center and often went to the countryside. I heard many folk literature and folk stories told by farmers, so I recorded them. In 1956, a thin book of folk stories was compiled and published. Later, I also read a lot of folklore books. I like the literati of the Song Dynasty, and I also pay attention to the folk customs of the Song Dynasty. I have taken a lot of notes. The three articles in "The Man Hair of a Flower" are sorted out from the notes and can also be regarded as articles of folk customs of the Song Dynasty.

A few years ago, in order to find some fun, I turned out the notes, cards, and indexes over the past decades, classified them, queued up, and tried to write some notes, which became this book "A Man Hair in a Flower". At the beginning, there was a subtitle "The Interpretation of Customs in Su Dongpo's Poems and Essays". Later, I thought about it and modified it to this point

Many years ago, while studying " Platform Sutra ", I wrote a novella "Chuayi", which wrote the story of Huineng, the Sixth Patriarch of Zen, founded the Southern School. Regarding Su Dongpo, he wrote a draft of "The Biography of Su Dongpo" in his early years. Later, he asked Su Yuanlei to read it in , Zhu Dongrun, and learned that Zhu Dongrun had also written "The Biography of Su Dongpo" but gave up halfway. The reason was that after a year of preparation of the information, Zhu thought that he "cannot enjoy a comfortable life in this life, nor did he have the leisure to flow." Therefore, he "cannot understand" Su Dongpo, so he decided to put aside his pen. I felt that I had no leisure and freedom and flowing life, and I was deeply moved by this. Later, I read "The Biography of Su Dongpo" by Lin Yutang, and then burned the manuscript with fire.

Mr. Xiao Yunchun (middle) took a photo with his disciples and visitors

The Paper: Many people are afraid of not being able to innovate now. What do you think of innovation in calligraphy?

Xiao Yunchun: People today emphasize innovation.In fact, from the perspective of the history of calligraphy, traditions are constantly innovating. The calligraphy of the Tang people is different from the Six Dynasties. The Song people are not like the Tang people, and the Yuan people are not like the Song people. Several schools in the late Ming Dynasty were different from previous dynasties. The Qing people developed stele studies, which further distanced themselves from the calligraphy studies. It is normal to change, but it would be strange if it doesn’t change. I have a few quatrains on poetry, and also talk about the issue of change: "The scenery of Tiao Shi is refreshing day by day, and the masterpieces of cloud forests are half dusty. If you look for Tiao Shi is drunk from the painting, you will see the ancient and elegant people in Taoyuan." "The drizzle of Jianmen is not new, and the wind and snow are not new. The traces of Ba Bridge have been cleared. Capturing alive and capturing with naked hands may not be as good as the poet." I once asked Mr. Zhang how to innovate, and the gentleman said, "It's natural." I admire the innovation of today's people, but because of my lack of innovation ability, I can only sigh at the book.

(Note: Some of the contents in this conversation refer to Chen Wei and Yu Liangfeng’s compilation notes, and I would like to thank you)

Editor in charge: Chen Ruoqian