Weng Fanggang

Weng Fanggang

Weng Fanggang (1733-1818) was born in Daxing District of Shuntian (today's Daxing District of Beijing). Calligrapher, litterateur and epigraphist in Qing Dynasty.

In the 17th year of the reign of Emperor Qianlong, he was a Jinshi and an editor. He has been in charge of studying politics in Guangdong, Jiangxi and Shandong provinces, and has a bachelor's degree in the cabinet. Jiaqing 23 years, died.

He is proficient in the study of Jinshi, Lulu, calligraphy and painting, and CI. His calligraphy is as famous as Liu Yong, Liang Tongshu, and Wang Wenzhi. On the creation of "texture theory" in poetry, his works include "Jinshi Lue in East Guangdong", "Research on Orchid Pavilion in Sumi Zhai", "collection of Fu Chu Zhai poems" and "description of Xiao Shi fan Pavilion".

Profile

Weng Fanggang (1733-1818) was born in Shuntian Daxing (now in Beijing) with the name of Qinxi and Suzhai. He was a famous scholar in the middle of the Qing Dynasty. At the age of 60 or 70, he could write fine books under the lamp and read the characters of flies. Every year, Weng Fanggang would write four regular script characters with watermelon seed. After 50, he would write "boundless longevity", after 60, he would write "emperor Wannian", and after 70, he would write "world peace". On the new year's day of the last year, when he wrote about the seventh melon seed, his eyes were tired and couldn't see clearly. He sighed, "I'm so weak!" and soon passed away.

Qianlong seventeen years (1752), examination Jinshi, official to cabinet bachelor. In 1773, the Qing government opened the Siku Quanshu library. Weng Fanggang was appointed as the editor of Sikuquanshu, and also as the editor. During his tenure in sikuguan, he and Zhu Yun, Qian Daxin, GUI Fu, Huang Yi, Ding Jie and others often visited Liulichang bookstores and made more and more rubbings.

During his tenure in Beijing, Weng Fanggang visited Taoran Pavilion and kiln terrace with Huang Jingren, and wrote couplets for Taoran Pavilion. "No one comes to the ancient temple of yanzang, and there is a moon in the deep hall.". This couplet is hung on the pillar in front of Tao Ran Pavilion. This couplet describes the scenery of Taoran Pavilion in ancient times. The first couplet "smoke cage" refers to the smog. The following couplet describes the tranquility of the night. The deep hall is in the woods. Only the bright moon shines in. The comparative description of "no one" and "Moon" shows the deep and peerless style of the nunnery, which contains the extraordinary charm. The author was a high-ranking official at that time. He was used to the life of rich clothes and good food, but he was also tired of the secular noise. He found that there was an ancient temple with "no one" and "Moon" in the city. It was like entering a paradise. The couplet expresses his yearning for seclusion. Today, it has been turned into a park, and this couplet is no longer the original one. It was written by Weng Tonghe, a teacher of Guangxu. Even the "quiet" described in this couplet is cut by the laughter and songs in the park.

Weng Fanggang was the editor of the museum. He was a Bachelor of the cabinet and the Minister of Zuo Honglu's temple. Later, he was awarded the second rank of honor banquet. He once presided over Jiangxi, Hubei, Jiangnan and Shuntian rural examinations, and also supervised Guangdong, Jiangxi and Shandong academic administration. Weng Fanggang was good at textual research, epigraphy and calligraphy. He was also the initiator of "texture theory" in Qing Dynasty. Learning from Europe and Yu, we should abide by the law. You are good at clerical script. It is said that Weng Fanggang can write small regular script on melon seed kernel, which shows his skill. In the record of calligraphy and painting of the Qing Dynasty, he is as famous as Liu Yong, Liang Tongshu and Wang Wenzhi, and called "Weng, Liu, Liang and Wang". He is also as famous as Liu Yong, Wang Yongzhen and tiebao, and called "Weng, Liu and Chengtie". According to Bao Shichen's Yi Zhou Shuang Ji, "Wanping calligraphy is only a craftsman's delicate ear. All the inscriptions and inscriptions have been searched for tacit knowledge. The writing style must have its own style, but the writing technique is unknown." Ma zonghuo's "pen talk on the building of peiyue" says: "Qin Xi is ridiculed by scholars for his strict adherence to the law. However, his real books are as neat and solid as those of the Tang Dynasty, and his simple and quiet state is not the remnant of the stone scriptures."

Weng Fanggang has written 35 volumes of fuchuzhai anthology, 4 volumes of foreign language anthology, 42 volumes of fuchuzhai poetry anthology, records of Jinshi in Han Dynasty, Jinshi Lue in eastern Guangdong, research on the remnant characters of Han Shijing, research on Jiaoshan Dingming, tangbencunzi of temple stele, Shizhou Shihua and many other works on Epigraphy. The word of the world, the stone, will push Weng family. In the manuscript of Qing Dynasty, there is a remnant note of Fang Gang Zhi Qiu He.

Calligraphy features

Weng Fanggang has a wide range of knowledge, and he has made great efforts in Yan Shu, Ou Shu, Tang people's Sutra writing and Han Li. But his calligraphy art level is not very high. His calligraphy stresses that there is no source for every stroke, but he has few things of his own. Running script is a typical style of traditional calligraphy. Coherent and soft, not impatient, follow the rules, very distinctive, do not lose everyone's style.

There is a strong contrast between the warm and rich thick ink and the slender gossamer. In the process of using ink, from thick to thin, from thick to thin transition buffer. Therefore, there is a strong sense of rhythm in thick and light, thick and thin, line and end. The pen used in the whole work is mainly mellow and gentle, without the slightest edgy and impetuous anger. From the soft and smooth brushwork, we can infer that the author writes with a flexible wrist. Looking at this work, it is one of his best works, with deep brush, thick ink, full strokes, strong muscles and strong bones.

Calligraphy anecdotes

firstly

Weng Fanggang mainly studied Tang Kai, Yan Zhenqing for the first time, Yu Shinan and Ouyang Xun for the second time. He especially studied Ouyang Xun's Huadu Temple stele. His running calligraphy mainly studied Mi Fu, Dong Qichang and Yan Zhenqing. Weng's academic books emphasize the origin of writing. Bao Shichen's Yizhou Shuangji records a story in which he and Liu Yong ridiculed each other: "during the reign of Emperor Qianlong, they all wrote about Liu Zhucheng (referring to Liu Yong) and Weng Wanping (referring to Weng Fanggang). Ge Xianzhou, a bachelor, is the son-in-law of Wanping, and also the disciple of Zhucheng. Wanping, a scholar of Zhucheng, said, "the one you asked your master about is from the ancients.". The scholar told Zhucheng, and Zhucheng said, "I've become my book ear, and I'll ask you which one is your own." It can be seen from this that Weng Fanggang's attitude towards learning books is rigorous. From the aspect of learning books and practicing basic skills, he has really reached a very high level.

"Meng Yuan Cong Shuo" records that "Mr. Weng Qinxi can write the four words" peace under heaven "on a sesame seed.". However, he only worked hard on his skills, and always adhered to the rules of his predecessors and did not seek innovation. In the end, he was only good at working hard. Bao Shichen's comment that Weng Fanggang's calligraphy "is only a craftsman's fine" (Yizhou Shuangji) is not false.

second

Among the stone rubbings of Wang Xizhi's preface to the Orchid Pavilion, Dingwu Orchid Pavilion is the best copy, the most popular and the most famous. Zhao Zigu of the Southern Song Dynasty once bought a volume from Lu Zong with 5000 gold coins. On his way home, he overburdened the boat and fell into the water. He eagerly held up the rubbings and cried out, "my life can be abandoned, but this can't be abandoned!" so later generations called this book "falling Orchid Pavilion".

From the Song Dynasty to the Qing Dynasty, luoshuilanting has been collected by 21 famous collectors and dignitaries. In 1782, Weng Fanggang saw this post at Cao Wenyu. So he took advantage of "playing with the sun for a long time", and even "sleeping and eating in the rain, walking, sitting and lying, all the time in the side of" falling water Orchid Pavilion ". During this period, Weng Fanggang took advantage of Tianmu Shanfang's song extension edition to collate it. With the help of poor eyes, he spent one day elaborately copying the extension volume of Luoshui Lanting. On the silk of this volume is copied the inscription of gongduo's "the most precious of Mo Lin", followed by the 324 words in the preface to Lanting, which are mostly made of Tibetan blunt pen, and dun press is implicit. The grid is drawn according to the stone of Lanting. The radium damage cracks of the original stone are all inked into graphite lines on the silk, which are "like clouds, smoke and buds".

In the past 32 years from 1781 to 1812, Weng Fanggang, a great calligrapher, wrote 30 sections of inscriptions and postscripts in regular script, Li script and Xing script after the volume, with nearly 6500 characters. He even said that "paper can't hold it", which can be regarded as the best calligraphy works.

Literary ideas

Weng Fanggang's works on poetry are Shi Zhou Shi Hua, but his basic opinions are found in his special paper. His theory of texture is actually the reconciliation and revision of Wang Shizhen's theory of verve and Shen Deqian's theory of style. He said: "today's people mistakenly hold the verve, which seems to involve empty words. In my humble opinion, they want to tell the truth by texture. In fact, texture is also verve." (on verve), "poetry is worse than style, and it's self-evident that Li and he made mistakes. Li, he, Wang, and Li's disciples are not only in style, but also in style. It's not the disease of style, it's the disease of clay style. " (on style) said: "in fact, style is verve." (on verve) Weng Fanggang uses the theory of texture to give a new explanation of verve and style, so as to revive the theory of ancient poetry and continue to compete with Yuan Mei's theory of spirit.

Weng Fanggang advocates "texture", which includes two aspects: one is the "righteousness" and knowledge based on Confucian classics, the other is the "Literature" of CI. He said: "scholars today, the light of classics, overflow in the universe, for learning must be based on textual research, for poetry must be based on texture." (preface to the collection of Zhi Yan) "the principle of Yi Li is the principle of Wen Li, that is, the principle of texture." (same as before) he said: the poems of song, Jin and Yuan Dynasties changed their sound slightly after the Tang Dynasty. However, the poets in Ming Dynasty only followed the style, and no one had real talent and practical learning. Only in Qing Dynasty, the study of Confucian classics was developed, and they could use Confucian classics as poetry (under the theory of verve). This idea was the reflection of the rulers' strong advocacy of Confucian classics and textual research in literature.

In terms of "poetic method", Weng Fanggang advocated the banner of seeking Confucianism to return to the ancients. He quoted Du Fu's poem "the method comes from Confucianism", which was interpreted as "big and always orderly, thin and single and double of the empty and real words, low and lofty of the sound, with bamboo shoots in front and back, Chengcheng transformation, Kaihe Zhengbian, which must seek the ancients" (on poetic method). Weng Fanggang's return to the ancients is not to respect the Tang Dynasty, but to respect the Song Dynasty, especially Huang Tingjian of Jiangxi poetry school. In his opinion, "the beauty of Song poetry lies in reality" (Shizhou Shihua, Vol. 4), which unilaterally emphasizes the textual research function and historical significance of poetry

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