Ezhou Xishan Scenic AreaSongfeng PavilionHuang TingjianWrite the article Songfeng Pavilion here
Huang Tingjian(1045-1105), courtesy name Luzhi, nicknamed Valley Taoist, later nicknamed Fu Weng, was born in Fenning, Hongzhou (now Xiushui County, Jiangxi Province). He was a famous writer and calligrapher in the Northern Song Dynasty. He was the founder of the Jiangxi School of Poetry, which was very popular at one time. , together with Du Fu, Chen Shidao and Chen Yuyi, are known as "one ancestor and three sects" (Huang Tingjian is one of them). Together with Zhang Lei, Chao Buzhi, and Qin Guan, they all studied under Su Shi's sect, and they were collectively known as the "Four Scholars of the Su School".
Portrait of Huang TingjianDuring his lifetime, he was as famous as Su Shi and was known as "Su Huang" in the world.He is the author of "Valley Ci". Huang Tingjian's calligraphy is unique and one of the "Four Calligraphers of the Song Dynasty". He is an important figure in the calligraphy of the Song Dynasty. Together with Su Shi, he pushed the humanistic spirit of Song Dynasty calligraphy to its peak.The biggest characteristic of Huang Tingjian's calligraphy is his emphasis on "rhyme", his prudent demeanor, and his writing is clear and smooth, like a man in the moonlight with a clear breeze, and his calligraphy has a high rhyme.
Huang Tingjian's letter written in running script to the uncle and Shaofu of the Ming Dynasty in the same year
Length 28.8cm, width 17.5cm
"Taipei National Palace Museum" collection
Song Dynasty Huang Tingjian's regular script letter to Yunfu's seventh brother
Length 32.6cm, width 65.4cm. Collection of "National Palace Museum, Taipei"
Song Dynasty Huang Tingjian's regular script letter to Yunfu's seventh brother(partial)
Huang Tingjian, Song Dynasty, Xingshu Mountain Preparation
Length 31.2cm, width 26.8cm. Collection of "National Palace Museum, Taipei"
Song Dynasty Huang Tingjian's running script calligraphy post
Length 31.3cm, width 33.3cm Collection of Shanghai Museum
Huang Tingjian, Song Dynasty, running script with bad Jiang Tie
Length 28.9cm, width 37.6cm. Collection of "National Palace Museum, Taipei"
Song Dynasty Huang Tingjian's cursive script Wei Qing Taoist post
Length 29.3cm, width 31.8cm Collection of the Palace Museum
Huang Tingjian, Song Dynasty
Length 28.9cm, width 37.7cm. Collection of "National Palace Museum, Taipei"
Song Dynasty Huang Tingjian's Letters in Running Script to Virtuous Friends
Length 26.9cm, width 37.7cm Collection of the Palace Museum
Huang Tingjian, Song Dynasty, written in running script to Uncle Ming in the same year
28.5cm in height and 20.5cm in width. Collection of "National Palace Museum, Taipei"
Song Dynasty Huang Tingjian's regular script as a gift to his forty-nine nephews
Length 35.5cm, width 130.2cm Collection of the Palace Museum
Song Dynasty Huang Tingjian's regular script as a gift to his forty-nine nephews(partial)
Huang Tingjian, Song Dynasty, a cursive letter to express his sincerity(partial)
Song Dynasty Huang Tingjian Cursive Script Zhushangjuan(part)
Song Dynasty Huang Tingjian Cursive Script Zhushangjuan
Song Dynasty Huang Tingjian Cursive Script Liu Yuxi Zhuzhi Ci Volume(partial)
30cm in length × 182.1cm in width × Collection of Zhejiang Provincial Museum
Song Dynasty Huang Tingjian Cursive Script Liu Yuxi Zhuzhi Ci Volume(partial)
Song Tuo, Yu Gutai Fa Tie, Huang Tingjian's Cursive Script Selection
Song Tuo, Yu Gutai Fa Tie, Huang Tingjian's Cursive Script Selection
Song Dynasty Huang Tingjian's Cursive Script Li Bai's Recalling Old Travel Poems Volume Paper
Height: 34.2cm × Width: 199.5cm Collection of the Japan Neighborhood Collection
Song Dynasty Huang Tingjian's Cursive Script Li Bai's Recalling Old Travel Poems Volume(partial)
Song Dynasty Huang Tingjian's running script and Dongpo's ink mark
Length 29.5cm Height 42.8cm Collection of Tianjin Art Museum
Song Dynasty Huang Tingjian Cursive Script Biographies of Lian Po and Lin Xiangru(partial)
Song Dynasty Huang Tingjian's running script to the scholar Wujiu Tongpan
Length 30.8cm, width 64.7cm. Collection of "National Palace Museum, Taipei"
Song Dynasty Huang Tingjian's running script to the scholar Wujiu Tongpan(partial)
Huang Tingjian, Song Dynasty"Taipei National Palace Museum" collection
Huang Tingjian, Song Dynasty(partial)
Huang Tingjian of the Song Dynasty wrote to Xuande Zha, the magistrate of Gongyun County
Length 30.4cm x Width 43.5cm "Taipei National Palace Museum" Collection
Huang Tingjian of the Song Dynasty wrote to Xuande Zha, the magistrate of Gongyun County(partial)
Song Dynasty Huang Tingjian's running script poems of Hanshanzi Pang Jushi(partial)
Song Dynasty Huang Tingjian's running script poems of Hanshanzi Pang Jushi
Huang Tingjian, Song Dynasty, Huayan Sutra in regular script(part)
Length 25.1cm × Width 115cm Collection of Shanghai Museum
Song Dynasty Huang Tingjian's Rubbings of Fubo Shrine Poems in Running Script
Huang Tingjian Cursive Script Huanhuaxi Illustrated Volume
Huang Tingjian's Pillar Inscription Long Scroll Clear Edition
Huang Tingjian Songfeng Pavilion Poetry Long Volume High Definition Edition
Taipei National Palace Collection
Huang Tingjian's 10 Classic Letters
1. "Ode to Bitter Bamboo Shoots"
Huang Tingjian's "Bitter Bamboo Shoots", running script on paper, 31.7×51.2cm, collected by the National Palace Museum, TaipeiHuang Tingjian is good at running script and cursive script, and his regular script is also unique. Scholars particularly admire Wang Xizhi's "Lanting Preface". There is a poem praising Yang Ningshi, which illustrates his profound experience in practicing "Lanting Preface": "Everyone in the world has learned Lanting noodles, and they want to change their bones without gold elixir. Who knows that Yang Fengzi of Luoyang went to Wusi Lan to write." This cannot be without his deep understanding of Wang Xizhi's calligraphy study.
2. "Bad Ginger and Ginkgo Tie"
Huang Tingjian's "Tie of Bad Ginger and Ginkgo" (also known as "Tie of Chenghui"), running script on paper, 28.9×37.6cmCollection of the National Palace Museum, Taipei
Explanation: Tingjian paused, Chenghui's ginger and ginkgo felt very far away, two pounds of Yongsu, a bunch of Qingzhou dates, the general is diligent and dedicated, blasphemy is not a crime, Tingjian paused.
Judging from Huang Tingjian's handwritten calligraphy that has been handed down to this day, the open strokes, flat and wide characters, and upward upward movement to the right, etc., all clearly show the characteristics of Su Shi's calligraphy, and even some exaggeration and emphasis, but it is too unfamiliar and not as familiar as Su Shupu's. . Huang Tingjian's Zen enlightenment and calligraphy should have influenced each other with Su Shi. For example, in Su Shi's "Prayer for Rain", the writing style is very similar to that of Huang Tingjian, especially the last number, which is calm and elegant, and the writing style is slow, almost like Huang Tingjian's ghostwriting.
3. "Letter to Yunfu's Seventh Brother"
Huang Tingjian's "To Yunfu's Seventh Brother", running script on paper, 32.6×65.4cm, collected by the National Palace Museum, Taipei释文：雲夫七弟：得书，知侍奉廿五叔母县君万福，开慰无量。诸兄弟中有肯为众竭力治田园者乎?鳏居亦何能久堪，复议昏对否?寄示兄弟名字曲折，合族固，几为完书矣c但欲为其中有才行者立小传，尚未就耳。庞老《伤寒论》无日不在油案间，亦时时择默识者传本与之。此奇书也，颇校正其差误矣，但末下笔作序。序成，先迭成都开大字板也，谈信可寄矣。蕲州州藏记亦不忘，但老来极懒，故稽缓如此耳。寿安姑、东卿一月中俱不起，闻之悲塞。二子虽有水皑为生资，子顾弟乔能周旋之乎?窀穸之事，计子顾必能尽力矣。叔母不甚觉老否?徐氏妹孀居，如何调护令不爽邪?无期相见，千万为亲自爱。十月十日，兄庭坚报雲夫七弟。
黄庭坚在上溯晋唐、学习前人经典书法时，对其影响最大的莫过于苏轼，可以说黄庭坚的手札小行书在很大程度上是学苏轼的。黄庭坚作为“苏门四学士”之一，不能不受苏轼书风的影响。在黄庭坚书论中，评东坡书颇多，且多为推崇备至者。苏东坡不仅是黄庭坚文学上的老师和提携者，而且也是其书法的学榜样。
四、《致立之承奉书》
黄庭坚《致立之承奉帖》（教审帖）纸本行书 27.1×43.1cm。台北故宫博物院释文：庭堅頓首，辱教審侍奉萬福爲慰。承讀書綠陰，頗得閑樂，甚善甚善。欲爲索兒錄數十篇妙曲作樂，尚未就爾。所送紙太高， 但可書大字，若欲小行書，須得矮紙乃佳。適有賓客，奉答草率。庭堅頓首。立之承奉足下。
黄庭坚在上溯晋唐、学习前人经典书法时，对其影响最大的莫过于苏轼，可以说黄庭坚的手札小行书在很大程度上是学苏轼的。黄庭坚作为“苏门四学士”之一，不能不受苏轼书风的影响。在黄庭坚书论中，评东坡书颇多，且多为推崇备至者。苏东坡不仅是黄庭坚文学上的老师和提携者，而且也是其书法的学榜样。
五、《致天民知命大主簿书》
黄庭坚《致天民知命大主薄书》纸本行书。25.5×45.9cm 台北故宫博物院藏释文：天民、知命、大主簿：霜寒，想八嫂安裕、九妳、四妳、大新婦、普姐、師哥、四娘、五娘、六郎、四十、明兒、九娘、十娘、張九（咩兒）、韓十、小韓、曾兒、湖兒、井兒，各安樂。過江來，甚思汝等，寂寞且耐煩，不須憂路上，路上甚安穩。但所經州郡多故舊，須爲酒食留連爾。家中上下，凡事切且和順。三人輪管家事，勿廢規矩。三學生不要令推病在家，依時節送飯及取歸。書院常整齪、文字勿借出也。知命且掉下潑藥草，讀書看經，求清靜之樂爲上，大主簿讀《漢書》必有功矣。十月十四日，立報。諸嬭子以下，各小心照管孩兒們，莫作炒，切切。
在黄庭坚题跋中，即反映出黄庭坚从苏轼处学习书法的一些消息，如“予与东坡俱学颜平原。然予手拙，终不近业”，又如“东坡此帖，甚似虞世南公主墓铭草。余尝评东坡善书乃其天性。往尝于东坡见手泽二囊，中有似柳公权、褚遂良者数纸，绝胜平时所作徐浩体字。又尝为余临一卷鲁公帖，凡二十纸，皆得六七，殆非学所能到”。黄庭坚与苏轼相差八岁。二人交谊师友之间。
六、《致景道十七使君书》
黄庭坚《致景道十七使君尺牍》纸本行书 27.8×47.4cm 台北故宫博物院藏释文：昌州使君景道。宗……秀也。往余與公壽景珍游。時景道方為兒童嬉戲。今頎然在朝班。思公壽景珍不得見。每見景道。尚有典刑。宣州院諸公。多學余。道。書。景道尤喜余筆墨。故書此三幅遺之。翰林蘇子瞻。書法娟秀。雖用墨太豐。而韻有餘。於今為天下第一。余書不足學。學者輒筆愞無勁氣。今乃舍子瞻而學余。未為能擇術也。適在慧林。為人書一文字。試筆墨。故遣此。不別作記。庭堅頓首。景道十七使君。五月七日。
黄庭坚行楷大字书风的形成当为其于京口见断崖《瘗鹤铭》之后并不断师法孳乳而自成家法的。黄庭坚师《瘗鹤铭》有一个误会，即他把《瘗鹤铭》看做右军所书，且深信不疑，故而倾力揣摩师习。不过也算是歪打正着，这倒促进了黄庭坚长枪大戟、绵劲迟涩书风的形成。
七、《致明叔少府书》
黄庭坚《致明叔同年书》（雪寒帖） 纸本行书 28.8×17.5cm 台北故宫博物院藏释文：庭堅頓首，承見諭，早嘗過此，延佇甚久，何以不至耶。雪寒，安勝否？大軸今送，然勿多示人，或不解此意亦來索，匠石斫鼻則坐困矣。庭坚顿首。明叔少府同年家。
八、《致无咎通判学士书》
黄庭坚《致无咎通判学士帖》（南康帖） 纸本行书 30.8×64.7cm 台北故宫博物院藏释文：庭坚叩头。比因南康签判李次山宣义舟行。奉书。并寄双井。计夏末乃得通彻耳。急足者伏奉三月六日手诲。审别来侍奉万福。何慰如之。
惠寄鲍诗、杨(扬)州集。实副所望。广陵四达之冲。人事良可厌。又有送故迎新之劳。计得近文字之日极少。然旨月‘之奉易丰。又弟甥在亲前。此亦人生极可意事。且主人相与。平生倾倒。徐复何言。闻说文潜有嘉除。甚慰孤寂。但未知得何官耳。山川悠远。临书怀想不可言。千万为亲自重。搏前颇能刚制酒否。每思公在魏时多小疾。亦不能忘念。不次。庭坚叩头。上 无咎通判学士老弟。五月五日。
9. "Mountain Preview"
Huang Tingjian's "Mountain Preliminaries", running script on paper, 31.2×26.8cm, collected by the National Palace Museum, TaipeiExplanation: Uncle Zhang Zhong of Dangyang sent Shansu (that is, potato) in the twelfth lunar month of last year and stayed in Jingnan for a long time. In April, Yu Nai arrived at Shatou. If you look at it, it will sprout vigorously, and there will be some that are full of feet. Everything can be given up. It would be great for the children to try cooking it. The same method is used to cover and grow teeth (same sprouts) as adzuki beans. Physics is inexhaustible, that's it. Today's people who talk about talents use their knowledge and ignore others. What a victory!
10. "Letter to County Magistrate Zhi Gongyun"
Huang Tingjian's "Letter to the County Governor of Gong Yun" (Jingzhou Tie), running script on paper, 31.2×43.2cm, collected by the National Palace Museum, TaipeiExplanation: Ting Jian bows again, the road is tired and dragging, and no movement or stillness can be attached. So for about sixty days, rain and snow were blocked everywhere, even to Jingzhou. The spring air is warm. How about not checking your physical strength today? If the king does not work hard, he can enjoy the pleasure of sharing words with his colleagues? The people he sent were very helpful, and he was very helpful on the luggage path. Going up the gorge in Jingzhou, taking a boat is not expensive but convenient. There was no need for the person, so he was sent back. Tomorrow we will board the boat and set off. We will not be able to stop you for this long distance. We will increase our feelings by reading the book. We must respect ourselves for the sake of the Tao. I would like to tighten my hand, and on March 4th, Tingjian will pay homage again. Deacon Xuande of Gongyun County.
From an objective point of view, Huang Tingjian and Su Dongpo are the calligraphers in the history of Chinese calligraphy who transcended the calligraphy style of the Tang Dynasty 800 years earlier than the Qing Dynasty and went back to the pre-Tang Dynasty stele tablets or combined stele and inscriptions. As for the origin of Su Shi's calligraphy style, a clear answer can be obtained by comparing his representative work "Han Shi Shi Tie" with Luoyang's "Twenty Products of Longmen". Huang Tingjian is the germ of the fusion style of Chinese calligraphy, inscriptions and inscriptions.
