Masterpiece said famous works ③ ｜ Chen Zhiping interpreted Bai Yu toad's "Foot Xuan Ming": Still Songyi, it has enlisted Yuanfeng

Text/Yangcheng Evening News all -media reporter Zhu Shaojie literary map, video/Yangcheng Evening News reporter He Quansheng literary

The "Painting Crown Nantian -Special Exhibition of Calligraphy and Painting and Calligraphy of Guangdong, Tibet, Tibet, Tibet, and Yuan Dynasty," The Special Exhibition of Painting and Painting and Calligraphy of the Guangdong Provincial Museum, gathered in the Song and Yuan Dynasties of the Guangdong Provincial Museum and the Palace Museum, the Nanjing Museum, the Chinese University of the Chinese University of Hong Kong, and the Guangzhou Art Museum. Calligraphy and painting treasure. Some of the original exhibits are exhibited for only one month, and will be replaced with replacement on September 17.

这些原件展期“余额不足”的展品中，有三件来自故宫博物院的书法经典作品——宋拓王沇本《兰亭序》、“宋书殿军”张即之《台慈帖》、白玉蟾《足轩铭"

Chen Zhiping

Bai Yutan is the first painter and painter who is the first true meaning of Lingnan and has been famous outside of Ling. "Zhe Xuan Ming" is one of his current and credible rare realities. Professor Chen Zhiping of Jinan University interpreted the calligraphy treasure at the exhibition site.

Bai Yuli ’s real name is Ge Changgeng, the word is like obscure, and the word Bai Yan, named Hai Qiongzi, also named Hainan Weng, Qiongshan Taoist, etc. His ancestral home was born in Fujian Minqing. He was born in Qiongzhou (now Qiongshan, Hainan). Later, his mother remarried to Guangdong and changed to Bai.

Before the Song Dynasty, there were few calligraphy and painting artists in Lingnan. In the Tang Dynasty, Zhang Jiuling's good calligraphy, who was only known for its political achievements, and Zhang Xun and the monk emblem of Zhang Xun and Shan Dilong. In the Song Dynasty, Bai Yu toad, who was good at poetry and painting, opened a new chapter for Lingnan Art.

Baiyu toad cursive "Zuxuan Ming" Volume (partial) Palace Museum Collection

After the beginning of the opening, open the style of the Yuan Dynasty

"The cursive" Foot Xuan Ming "is refreshing and refreshing, such as the wind and clouds." Chen Zhiping told Yangcheng Evening News reporters that there are not many paintings and paintings in the Southern Song Dynasty, and Bai Yu Chan can see that the works are more rare, and the authenticity is difficult to distinguish. This exhibited cursive "Zuxuan Ming" can be described as its masterpiece. It is hidden in the Palace Museum in Beijing. After the volume, there are Yu Ji, Xiang Yuanxuan, Yongzheng, Wu Hufan, and Pan Jingshu, which reflects the orderly collection of this work.

This piece of calligraphy is grassy, ​​the body is as good as it is not losing, and it is extraordinary and vulgar. "Zuxuan Ming" is the inscription of the admonition of Bai Yu Chan for his friend Zhou Yanchang. Each word is the word "foot", which means "contentment" and "satisfaction". Wen Yi is open -minded and open -minded, showing the author's pleasure. This is also the meaning of the Ming Dynasty collector Xiang Yuanzhang's post.

"This work is flat, the glyphs are vertical, and occasionally have the potential of the side. The size, length, and weight are in the smooth turn. Differential, and closer to 'two kings' style. "

Chen Zhiping said: "During the Southern Song Dynasty, the development of calligraphy was declining as a whole; although the Yuan Dynasty was short, the retro wind rose. Ge Chang Geng took the Fa Wei and Jin, and inadvertently provided an inspiration for the retro of the cursive script of the Yuan Dynasty. Although this "Foot Xuan Ming", although there is still a "Song Yi", in fact, it has entered the "Yuanfeng".

The influence of Bai Yuan on Lingnan's book is mainly manifested in three aspects: First, Bai Yuan's calligraphy relics have become precious relics in the history of Lingnan calligraphy, and they are the objects of future generations based on hanging. Secondly, as the representative of Taoist Nanzong, his Nei Dan theory has a certain impact on the "heart learning" of Chen Baiha in the Ming Dynasty, and has formed an important role in promoting the tradition of "Heart Study" in Lingnan calligraphy. Third, the Qing Dynasty from Li Jian, Xie Lan Sheng, and Zhu Ciqi to Kang Youwei, who regarded the "Soft Pen" as "Neidan", was also reminiscent of Bai Yu toad.

Knowing the world, returning to calligraphy ontology

In the eyes of the people, Bai Yu Chan's more loud identity is the ancestor of the Taoist Quanzhen Nangong. Some researchers believe that Bai Yu toad is the actual founder of the five ancestors of the Taoist Nanzong, and its status is equivalent to Qiu Chuji, a generation of Master Northern Tongdan in the Taoist Northern Dandan at that time. Calligraphy is closely related to Taoism. Wang Xizhi was once a Taoist. The "three -pointer of entering the wood" was the requirements of Taoism on the requirements of the paintings. Later, it was influenced and in calligraphy.

Chen Zhiping believes that as a fairy family, Bai Yu Chan's cursive may have something to do with his exquisite runes. Its brushwork and a magical practice reflect the aesthetic characteristics of Taoism and naturalness.

Bai Yu toad died early, but his short life has achieved many achievements. There are Bai Yuli "Bo talked to Confucian books, exactly the Zen. Good cursive books, 篆 有, especially beautiful plums. "Unintentional", instead of "eternal hindrance, convinced life for a lifetime," the attitude towards life is in line with the deed.

This is quite possible to see the fashion of the Song Dynasty, especially the impact of Huang Tingjian on his artistic concept. Bai Yuli was able to paint well. Jinnong, who was known as the "Eight Monsters" in the Qing Dynasty, claimed to be Plum Blossom Bai Yu toad.

Chen Zhiping believes that "Zuxuan Ming" may not have much example of calligraphy art. He is just a short -term historical moment in a lonely era. The true value of his calligraphy is not at a tangible level, but pointed to a more distant "heart learning" tradition.

Chen Zhiping emphasized that Bai Yussian's position in cultural history is far greater than his position in the history of calligraphy: "Just like later Chen Baiha, Kang Youwei, and Liang Qichao, they are not just calligraphers. For them, thinkers and scholars 'scholars' scholars are concerned. The identity is far more than the identity of his calligrapher, and they may not see their calligraphy that important. "

Coordinated | Chen Qiansheng Deng Qiong

Source | Yangcheng Evening News · Yangcheng School Editor -in -law | Deng Qiong

School Division | Li Hongyu

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