Zhang Yu
Zhang Yu
Zhang Yu (1283-1350) was a poet, songwriter, calligrapher, painter and Taoist of Maoshan school in Yuan Dynasty. The old name is Zhang Zezhi, also known as Zhang Sizhen; the word is Boyu, named zhenjuzhi, also named Juqu waishi. Qiantang (Hangzhou, Zhejiang).
He is knowledgeable and good at talking about fame and reason. Poetry, calligraphy, painting, fresh and flowing, with Jin, Tang heritage. He was once learned from Yu Ji, and his poetic talent was pure and beautiful. In the 20th year, he abandoned his family as a Taoist and lived in Maoshan. His name was Sizhen, and his name was zhenzhenzi. His teacher was Zhou Dajing, a disciple of Xu Daoqi, the great master of Maoshan, and later Wang Shouyan, a high Taoist of metaphysics. He lived in Kaiyuan palace in Hangzhou. He sang and communicated with literati at that time, such as Yang Weizhen, Zhang Xiaoshan, Ma angfu, Qiu Shancun and ban Yangong.
The books handed down from generation to generation include taixiange Ji (now stored in Shanghai Museum), two poems inscribed on paintings (now stored in the Palace Museum), and Zhenju Ji (also known as Juqu waishi Ji), a collection of poems.
brief account of the author's life
Zhang Yu is the descendant of Zhang Jiucheng, the Duke of Chongguo in Song Dynasty. When he was young, he was natural and unrestrained, informal, vigorous, and had the ambition of seclusion. In the 20th year of his life, he abandoned his family and traveled all over the famous mountains of Tiantai and Kuocang. Later, he went to Maoshan to learn from Zhou Dajing, a disciple of Xu Daoqi, the 43 generation master of Tan Dynasty. He also went to Kaiyuan palace in Hangzhou to learn from Wang Shouyan, a Taoist priest of the metaphysics. He named his son Si Zhen and his Taoist name Zhen Ju Zi. In 1313, he entered the capital with Wang Shouyan and lived in Chongzhen Longevity Palace. Because of the reputation of poetry, scholars and scholars in Beijing, such as Yang Zai, Yuan Jue, Yu Ji, fan Shu, Huang Shu, Zhao Yong, etc., vied with each other to make friends with them. Therefore, although they were hidden among Huang Guan Taoist scholars, they were named scholars and scholars. They were called "the first in poetry, calligraphy and painting in the Dynasty". When Ren Zong heard his name, he wanted to be an official. Zhang Yujian left office, but he returned to his hometown. He went back and forth between Huayang and Yunshi to make Huangmi building. He had a rich history of storing ancient pictures and writing poems. Yan you (1314-1320) left Beijing and returned to Kaiyuan palace. In the first year of Zhi (1321), Kaiyuan palace was destroyed by fire. In the next year, he returned to Maoshan to advocate Chongshou temple and Chongxi temple in Zhenjiang. In the second year of Zhiyuan (1336), Huizong wrote poems to amuse himself. Or burning incense all day long, sitting in a secret room, not to meet the eyes of the world.
Personal achievement
poetry
There are more than 50 Ci poems by Zhang Yu, most of which are works of singing and giving answers. Some of the congratulatory speeches were mostly written by his teachers and friends outside the country. The contents were narrow and the language was old-fashioned. On the contrary, some real thoughts and feelings were placed in his poems of harmony with his secular friends. For example, his works Mulan huaman and Huang Yifeng Wenzheng and Shizhou manhe and Huang Yifeng Qiuxing describe that "the sound of sadness is more sensitive in old age, Nai is more sensitive to flowers and wine.". "It is said that after banishment to the immortals, who dares to imitate, wine hero, poetry hero, Grass Mountain window, return me the old bright moon", which shows his lament about the fleeting secular emotions. These emotions have the common characteristics of sentimentality and depression of scholars in Yuan Dynasty. Some of his impromptu works, such as "chaozhongcuo, early spring book, Yixuan Jiuqu new residence wall", "walking in the kitchen bamboo, garden official's food handle, wild old mountain cup, talking with the nest, new swallow, apricot blossom again", write the tranquil taste of mountain residence. Zhang Yu also described his life as a Taoist, a Confucianist, a hermit, and a secular, as well as his leisure and melancholy words such as "hard to stay in the golden age", which showed the characteristics of the new Taoist in the Jin and Yuan Dynasties. He also has some chanting words, although he is keen to describe modality, but there are always traces of rigidity. Some of his poems are intended to imitate the graceful School of Song Ci, and some of them are pretentious, but there is no breakthrough in art, so his personal style is not very obvious. Zhang Yu also wrote poems, and some of his works are quite emotional, such as "the picture of summer vacation": "snow lotus root, ice plate, kitchen, wave curtain, wind, people's thirst, red sun and yellow haze are all afraid of the way." Write the social injustice, the suffering of the people. Another example is "Tizhong Mu Mo Lan": "recently, the fragrance of the country has been scattered all over the world Zhongmu (Zhao Yong) is the son of Zhao Ziang. This poem is intended to satirize Zhao's father and son when they became officials in the Yuan Dynasty. It is said that after seeing this poem, Zhao Zhongmu felt ashamed and stopped painting orchids.
Calligraphy
Zhang Yugong studied calligraphy and painting from Zhao Mengfu, huaisu and Zhang Xu. The combination of regular script and cursive script makes it a unique style. There are many books in existence, such as Shanju Jishi Shitie and dengnanfeng volume. Ni Zan said in the book titled Zhang Zhenju that "Zhenju's real life poems, people, characters and paintings are all the first Taoist works in this dynasty.". He is good at painting stone and wood, with elegant brushwork, especially good at decorating stone and wood figures with bad brushwork. The paintings include the painting of shuangke Xiushi and the painting of Shuangfeng hancui. From the point of view of calligraphy style, Zhang Yu has a lot of intake of Ouyang Xun's "family method". Ou Shu is the peak of regular script because of its standard writing style, vigorous and dangerous body. Zhao Songxue called ouyangxun's calligraphy "clear, vigorous, beautiful and healthy, one person in ancient and modern times". On the basis of inheriting the European books, Zhang Yu's small regular script developed a new way to integrate the elegant and flexible spirit of some Jin people, adding a lot of color to his books. From the point of view of the feeling of using the pen, some of the horizontal strokes in Zhang Yu's regular script are highly consistent with the "Sutra writing style" created by the folk Jingsheng. This is a problem worthy of attention. Perhaps it is because Zhang Yu himself is a brilliant "Jingsheng calligrapher" hiding in the jungle. In the works, the oblique cutting, light moving, heavy pressing, light entering and heavy collecting of some horizontal strokes are highly consistent with the folk "Sutra style" calligraphy. The style of some of them makes people suspect that this work was written in regular script by Ming people. From Zhu Zhishan and Wang Chong's use of slanting style, we can see that the calligraphers in Ming Dynasty were more or less influenced by Zhang Yu's style. This kind of calligraphy style and method is in line with the objective law of calligraphy development. Zhang Yu's calligraphy style of "inserting lines in regular script" has gradually become a commonly used calligraphy style since Zhao Songxue used it. This style also frequently appeared in his later small regular script. His contemporaries Ni Yunlin and later works by Zhang ruitu, Huang Daozhou and Wang Duo also follow this style. Zhang Yu was born as a Taoist, but his calligraphy style is cautious and meticulous, especially his small regular script, which is full of ancient style and rhyme, and is far away from his Taoist aesthetic standards of "Tao follows nature", "Tao can be Tao, and non Tao". Whether this kind of deviation is normal or abnormal can only be known from where we are; if we rely on our own subjective conjecture, we may also have a deviation. This is the same reason that the great men in the north are not necessarily tall and powerful, and the girls in the south are not necessarily gentle and affectionate. Individual phenomena do not necessarily belong to common phenomena, and Zhang Yu's small regular script works convey this kind of message to us. Taoist calligraphy is not necessarily illusory.
work
The book traces handed down from generation to generation include taixiange Ji (now stored in Shanghai Museum), two poems inscribed on paintings (now stored in the Palace Museum), and Zhenju Ji (also known as Juqu waishi Ji), a collection of poems.
Calligraphy features
Zhang Yuqi began to learn from Zhao Mengfu and entered the room of Songxue. Zhao instructed him to learn from Li Yong's Yunhui general stele, and he got the sparse Hanmi glyph, so his handwriting became fierce, sharp and sharp, which can be seen in his book taixiange Ji Juan. He removed the grace and peace of Zhao Shu and added Shenjun and Qingqiu to it. His Jiusuo Mountain Poetry kaishu volume has the atmosphere of the Six Dynasties. After 60 years old, he took off his Taoist robe, returned his Confucian body and lived in seclusion in Hangzhou. He lived with a group of hermits such as Huang Gongwang, Ni Zan and Yu He, especially with Yang Weizhen. His thoughts and life changed greatly. He indulged in wine and sex, sought pleasure, and coveted "a moment of spring is priceless". In his calligraphy, he was private to Mi Fu, so his calligraphy style became indulgent and wanton. His representative work "dengnanfeng top poem cursive script axis" is a kind of secluded literati, which is isolated and extreme, with a long and thin brush, and the change of virtual and real The expressionistic style of Chinese culture. Therefore, Zhou Zhishi, a man of Ming Dynasty, commented in his tour of Hetang Mo sou: "Zhang Boyu is healthy and close to you." This kind of aesthetic standpoint naturally still stays in the category of Zhao Mengfu's aesthetic doctrine of the mean. "dengnanfeng top poem cursive script axis" is 108.4cm high and 42.6cm wide, which is rare in Yuan Dynasty calligraphy. According to the collection of Chinese calligraphy compiled in the Yuan Dynasty, there are 7 volumes of 80 Calligraphers' nearly 300 works, of which 2 are Yang Weizhen's, 4 are Zhang Yu's and 1 is Ni Zan's. It can be said that Zhang Yu and Yang Weizhen are pioneers in the transformation of Chinese calligraphy from HanZha, volume and volume to vertical script. Among the four vertical works handed down from generation to generation, the "poem axis of the new autumn at the top" in the Palace Museum in Taipei is the earliest one, which was written in his later years (i.e. 59 years old). The scale is 154.3cm × 34.3cm. The vertical work has seven character jueju cursive script on the top, two lines on the right, and eight extremely small running script on the bottom left, which has the following style: "Da Yuan Zhi Zheng, Xin Si, Zhang Yu." It is obvious that the author has not yet found the proper way to sign the fund, which should be regarded as his attempt to set up a book. The later "Weizi Zhongshu Shizhou" was written in very small regular script without reservation. Like the previous "Dengnan Fengzhou", it was not even signed. It is obvious that Zhang Yu has not yet found a mature structural position in the composition. Two of the four vertical axis books are less than three feet in height, which is still small compared with the Gaotang axis which is often more than five feet after the mid Ming Dynasty. However, this change has caused great changes in calligraphy creation and aesthetic style. If we say that a large number of cursive volumes of Zhang Xu, Huai Su and Huang Tingjian have completely deviated from practicality in terms of text content and entered into the state of pure artistic creation, then the vertical works of Zhang Yu and others will go on trial
Chinese PinYin : Zhang Yu
Zhang Yu
