Fu Shan'S Calligraphy In The Late Ming Dynasty Is Free And Natural, And The Most Powerful!

Chuanshan Cursive Script and Miscellaneous Essays of Taoist Mei, Zhejiang Provincial Museum Collection

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Fu Shan's calligraphy art

Text / Zhao Baoqin

Fu Shan is a calligraphy master who has both artistic practice and unique theoretical contributions to calligraphy aesthetics. He was born in a calligraphy family. He came to Zhongyao (Yuan Chang) when he was eight or nine years old, and then studied with Wang Xizhi, Wang Xianzhi and Yan Zhenqing. When he was about twenty years old, he had already "applied everything in the regular script of Jin and Tang Dynasties passed down by his ancestors". He likes to use seal script and official script to write characters. Yan Zhenqing, the Zhencao Zongzong, refers to Zhong and Wang's interests, advocates uprightness and clumsiness, derogates cleverness and beauty, and has a unique insight into Zhao characters. He once copied the poems and ink of Zhao Zi'ang and Dong Qichang, and he loved their "round, flowing and beautiful works, but if you look at them a little bit, they will mess up the truth, which is a shame." Later, he broke away from the legacy of Dong and Zhao's calligraphy style, which focused on elegance and charm, and got rid of the influence of Dong Xiangguang's pavilion style that was popular in the late Ming and early Qing dynasties.

Fu Shan's Cursive Script Wang Wei's Poems about Leisurely Living in Wangchuan Collection of China Three Gorges Museum, Chongqing

Explanation: The cold mountains turn green and the autumn water gurgls. Leaning on a stick outside the firewood door, I listen to the evening cicadas in the wind. The sun is setting over the ferry, and a solitary smoke rises above the ruins. After returning home, I was drunk and singing wildly in front of the five willow trees. Qing Lao Ci sect. Chuanshan.

Fu Shan, Official Script, Zhang Shuo, Poem Scroll about Favoring Food, Collection of Jinci Museum

Fu Shan has his own unique insights into the research and exploration of the relationship between calligraphy theories and calligraphy bodies in the past dynasties of my country. He developed Laozi's theory and put forward the famous calligraphy art creation principle of "Better clumsy than skillful, better ugly than flattering, better detached than slippery, and prefer straightforwardness to arrangement" in calligraphy theory. He advocated the orthodoxy of calligraphy based on the establishment of characters and the foundation of affairs, and attached great importance to the moral cultivation of artists. He especially emphasized that "the characters are like the people, and the books are the paintings of the heart";

Fu Shan's Cursive Script Poetry Scroll of Qian Kun Only This Matter 22.4x57cm Collection of Shanghai Museum

Explanation: The universe is only about this matter, no matter ancient or modern. The cup is double white, with three spring grasses in the heart. The Zhongshan Rabbit pen is here, and I am drunk and confused. The prime minister is old and frugal, and his family's reputation is the shadow of the Han Dynasty. The cup is deep in love with the clouds and the moon, and the feathers of colorful dancing birds are soaked in it. The world is hard to be broken, so let's get involved with each other. The birthday celebration poem is for Xu Weng to persuade his old father-in-law to drink wine. The old man who came from Huang and his younger brother Fu Shan

Fu Shan's Cursive Script Lin Wang Xianzhi Jiangzhou Post Scroll Collection of the Palace Museum

Explanation: I should ask Huanjiang Prefecture to help you, but I don’t know how to do it, so I have to send people to meet you. When Ju Dong Gai Fang San Si • I am a small person, I should be independent and have no lake to welcome you. Therefore, fifty or sixty people can be obtained. Fu Shanlin.

His calligraphy in Zhen, Cao, Seal, Li, and Xing is all incompetent and perfect. He loved Yan Zhenqing's graceful calligraphy and respected his upright and awe-inspiring integrity. Fu Shan's regular script is based on the Wei and Jin Dynasties, especially the style and style of writing. Among them are the huge regular script couplets "Xing Ding·Shen Xian" and "Bamboo Rain·Tea Smoke" (collected by Jinci Museum), Fu Shan's regular script "Wenchang Emperor Yin Zhiwen" (Collected by Shanxi Provincial Museum) and "Heart Sutra" and other albums, Hand scrolls, from these works we can see Lu Gong's "Gao Shen Tie", "Magu Xian Tan Ji" and many other writing techniques. His large-character couplets in regular script are well prepared in the strokes, strokes, and strokes. In the broad and solemn posture, the opening and closing are scattered, the virtual and the real complement each other, and it is large and impressive. His clumsy brushstrokes, strong force and majestic momentum more express Fu Shan's unique artistic style.

Fu Shan Cursive Script Pei Yimin Album 30x26.7cm Collection of Zhejiang Provincial Museum

Interpretation: Pei Yimin said: "The existence of nourishment and transformation cannot be accomplished by using nothing; the existing principles cannot be followed by inaction; the existing principles cannot be followed by inaction." Nearby. According to various opinions, there is no harm in doing so. If the nourishment already transformed into something is not useless, then it can only be said in terms of what the form treats, and there are some things that should not be treated. It's so wonderful that no one can do it. If its theory is based on the famous teachings, it cannot be discarded.

Fu Shan's Cao Zhuan Poetry Scroll of Tianlong Temple Collection of Shanghai Museum

Explanation: The spring snow melts and refreezes, and the pine roots carry crystals. There are few people in Tanzi, and they enjoy the past of Bingzhi. A fast at noon in the pavilion is enough, and I can pass through the clouds without borrowing. The old pavilion of Xueyuan is here, and I climb twice in half a day. Tianlong Zen Temple. Mountain.

Fu Shan's official script started from the Han Dynasty and was cast in seal script. It has both ancient patriarchal traditions and unique wisdom. His representative works include the official script scroll of "Dongbi Shufu" (collected by Jinci Museum), which is simple, vigorous and powerful, which constitutes the basic style of Fu Shan's official script. Fu Shan's seal script can be traced back to oracle bone inscriptions, bronze inscriptions, Zhou inscriptions, Han seal scripts, Tang seal scripts, etc. He sometimes wrote large seal scripts (grass seal scripts), and sometimes wrote iron wire small seal scripts. Large seal scripts (cursive seal script) with a unique style, such as the cursive seal script scroll of "One of Three Night Stories" (collected by Shanxi Provincial Museum), are written quickly and show the flying whiteness that is not easy to see in ordinary seal scripts, that is, they have a high degree of accuracy. creativity. His small seal scripts, such as the small seal script scroll of "Beidou Hangs on the City" (collected by Jinci Museum), are written in the center, with iron wire and silver hooks. The writing is vigorous and the changes are subtle and natural. What is even more peculiar is that in this work, he integrated the large seal script into the small seal script, such as the word "cloud" in the first line, the word "tree" in the second line, the word "peak" in the third line, and the word "peak" in the third line. The word "天" in four lines. Bold innovation is rare.

Fu Shan's Cao Zhuan Zhengcao Qiankun Ru Loneliness Poems Album Collection of Suzhou Museum

Explanation: (Qianjue) Bones and wood, mouth and forehead can be seen in the mouth. Wu Danzhengcao is as lonely as the world, unwilling to accept the old life of father and son. It is better to be young at heart than to read books, and to read and write books. The sage still thinks of the thunderous mouth, and the mouth is blocked to the Western Qin Dynasty. The words of wealth are spoken fluently, and the words of the gods are beeped and uttered, and the divine power of the Han Dynasty is a sign of resurgence. The tigers and elephants have been visited for a long time, and the pines and cypresses can grow in the mountains. Xiu Yinxianwei lived in Yiluo, but Chengzhou was actually in Haojing. Erji was the title of Emperor Yao of the Tang Dynasty, and his mouth was tied to his mouth.

Chuanshan Cao Shu Su Dong Hai Zhi Cliff Poetry Scroll Silk Edition 184.2cm x 52.7cm Collection of Jinci Museum

Explanation: Close the window and go out to the sea with clouds, and the quilt is wrapped in Qiu Hao. The sound of tide came in the middle of the night, and the turtle fell down in anger. Buddhist affairs require blood, this is Konda Hengjima •. How can I hold you in my arms between life and death? Chapter 1 of Sudonghai's fallen cliff. Xuan Laoshe Ci brother politics. Dishan

His running script was deeply influenced by the style of beauty represented by the "Two Kings" and his son in the Jin Dynasty. In particular, Fu Shan's character, temperament, sentiment, loyalty, filial piety and justice were even closer to those of Wang Xizhi. Wang Xizhi's "Bohemian Remains" and Fu Shan's "Xiao Ran Wuwai" are closer in personality and attitude towards life. His running script work "The Story of Danfeng Pavilion" is a masterpiece with rich emotions and excellent calligraphy. His books "Xin Zheng on the Lake", "Farming Village Urgent" (collected by Jinci Museum) and the running script scroll of Wei Yingwu's poem "Yuzhou Xijian", and the album "Praise to the Portraits of Famous Officials in the Past Dynasties·Wang Xizhi" (collected by Shanxi Provincial Museum) At the same time, he used the cursive meaning and the method of writing lines in cursive to reflect his superb artistic attainments and upright character. The characters are powerful, straight and broad, so they can work together and have a strong three-dimensional sense. His hand scrolls, album pages and other running calligraphy works have vertical and horizontal strokes of pen and ink that penetrate through the back of the paper, giving a glimpse of the author's superb skills. Fu Shan's running calligraphy works can express the depth and unrestrainedness of Yan and the clear and round energy of "Two Kings" in his pen and ink. At the same time, they also reflect his artistic ideas, philosophy and aesthetic thoughts.

Fu Shan’s Selections of Eight Poems and Ten Articles from Zuo Si’s Ode to History in Four-Titan Script, Collection of Mianyang Museum

Fu Shan, Xiaokai, Diamond Sutra Album (Part) Collection of Haihua Hall, Taiwan

Among all his works, Fu Shan's cursive calligraphy works have the largest number and the highest artistic value, occupying a very high position in the history of calligraphy. For example, the exquisite cursive scroll "East China Sea Inverted Cliff" collected by Jinci Museum and the "Wufeng Mountain Cursive Script Stele" in Shouyang County can be said to be models of cursive calligraphy art. His works are graceful, powerful, and coherent. When the strokes are written, they wind and overlap to form repeated and overlapping circle lines, which are continuous and continuous, just like ancient trees and vines, dragons and snakes flying, and are completed in one stroke. Not only does it not feel complicated, but it reflects It feels comfortable, light, and natural.

Fu Shan’s Four Screens of Jin Gong’s Thousands of Years, Collection of Jinci Museum

The Jinci Museum collects Fu Shan's masterpiece in his later years, "Jin Gong Qiangu Yi Kuai" with four screens in cursive script. The end of the book is signed "Seventy-eight-year-old Fu Zhenshan Shu", which is the work of Fu Shan in the year of his death. Each of these four screens has a new composition and arrangement. The density and size of the characters vary, and the opening and closing of the rows are intricate. We seek unity from the changes, and we do as we please without violating the rules. In addition, the stippling is round, heavy and steady, and the brush strokes are as powerful as a thousand pounds. They are restrained and outward, and they are majestic. In the spring of 1961, when Guo Moruo was looking at Fu Shan's seventy-eight-year-old ink work, he once praised his book as "bold and unruly, off the beaten path, writing this in his later years, it can be said that he has great ambitions." This is a reflection on Fu Shan's artistic career. Fair comment. In the postscript, Mr. Guo Moruo expresses the spiritual essence of Fu Shan's cursive calligraphy with the words "bold and unruly, off the beaten track".

Fu Shan, part of the Diamond Sutra album in small regular script, collected by Haihua Hall, Taiwan.

Fu Shan's Running Script Reading of the Biographies of the Song Dynasty's Southern Crossing, Collection of Shanxi Museum

There are also hand scrolls and album pages such as Fu Shanlin and Wang Xizhi's "Fu Xiang Qing He Tie" cursive scroll (collected by Jinci Museum) and "Reading the Biographies of Various Histories After the Southern Crossing of Song Dynasty" (Collected by Shanxi Provincial Museum). The writing style of his works is lingering, strong and thick, unrestrained and strange, and the atmosphere is rocky. It is truly divine and humanistic, pushing the continuous wild grass of the late Ming Dynasty to a peak. The famous calligraphy theorist Mr. Chen Zhenlian commented: "Fu Shan's cursive calligraphy emphasizes authenticity and momentum. It is close to the great cursive calligraphers of the Ming Dynasty such as Xu Wei and Wang Duo, but it is superior in majestic atmosphere." The entwining lines of the coiling dragon and dancing snake give us the impression of a powerful and magnificent style; the carefully calculated space is washed away by the torrent of thousands of miles. 』

Fu Shan, Fragments of the Sutra of Merit and Virtue of the Original Vows of the Tathagata in Small Regular Patterns (partial part) collected by Shanxi Museum

Fu Shan was good at writing calligraphy, and he was very proud of himself in his later years. He once claimed: "My family has been studying calligraphy for three generations now, both true and unconventional. I am eager to learn calligraphy and small seal script with eyebrows, and I have become a master of calligraphy." "Fu Shan was also good at engraving seals when he was young. He used a knife as a substitute for writing. He wielded the knife with ease and transformed like a dragon.

Fu Shan's calligraphy not only enjoyed a high reputation in the era in which he lived, but also is highly praised by people today. During the Qianlong reign of the Qing Dynasty (2747 AD), Qu Yuanzhu wrote in Zhang's "Shuanghong Niji Collection·Preface" that Fu Shan's "calligraphy and paintings are beyond ancient and modern times, and the world knows them to be precious." Dai Tingshi, a native of the Qing Dynasty, introduced Fu Shan, a family of calligraphers, in "The Collection of Calligraphy by Fu Daoweng III" in "The Postscript Collection of Fu Daoweng III": "Mr. Fu Gong is famous all over the world for his calligraphy. Grandfather, grandson, father and son, he taught and received it at the same time, just like the order of the right army, and each achieved his own perfection." It is so miraculous and pure that people at that time may not have known it all. Mr. Huang Shizhai (Daozhou) and Mr. Ma Junchang (Shiqi) discussed books after the Jin and Tang Dynasties, and they were the first to recommend him. 』

Fu Shan's running script, Haobo Graceful Eleven Word Couplets, collected by Jinci Museum

Fu Shan's regular script, Bamboo Rain, Tea and Smoke, Six-Character Couplet, collected by Jinci Museum

Zhao Zhixin (Qiugu) recommended Fu Shan's calligraphy as "the best in the Qing Dynasty" in "Yishan Collected Works". Mr. Mei Shuxing, a famous Japanese calligraphy master and seal cutting master, praised Fu Shan's calligraphy as "great. Fu Shan's calligraphy in the late Ming Dynasty was ranked first in the world." It can be seen that Mr. Fu Shan's character and calligraphy are highly respected by people from all walks of life at home and abroad. Fu Shan's calligraphy works have long become treasures in the long history of Chinese art.

The brilliant achievements of Fu Shan, a master of calligraphy art, left in the history of Chinese thought and art have become a precious cultural heritage of our Chinese nation and the glory and glory of Chinese culture. This year marks the 400th anniversary of the birth of Mr. Fu Shan. I would like to write this article to express my respect and memory for Mr. Fu Shan.

Part of Fu Shan's running script poetry album collected by Shanxi Museum

Fu Shan's running script Wei Shu Wei Shu Shi Lao Zhi Preface Album (Part) Collection of Jinci Museum

Explanation: ...According to the second return of Buddhism, there are also five (precepts, not to kill, steal, cheat, and drink alcohol), which are basically the same as benevolence, righteousness, propriety, and wisdom. This sequence of the butterfly is possible. mountain book

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