news

한어Русский языкEnglishFrançaisIndonesianSanskrit日本語DeutschPortuguêsΕλληνικάespañolItalianoSuomalainenLatina

"Life is precious, but love is more precious." Since ancient times, scholars have loved to write poems and compose fu to express their praise and yearning for love. From the Book of Songs to the Yuefu of the Northern Dynasties, to Tang poetry, Song lyrics and Yuan opera, many classic lines have been born. A media once conducted a voting activity to let the public choose the most beautiful love poem.

The third place is "The Book of Songs·Qinfeng·Jian Jia" "Jian Jia is lush and green, white dew turns to frost. The so-called lover is on the other side of the water"; the second place is "Dielianhua" by Liu Yong "My belt is getting looser and I will never regret it, I am exhausted for her." The first place is "Bosuanzi" by Li Zhiyi, a calligrapher and writer of the Northern Song Dynasty.

This Song Dynasty poem reads: "I live at the head of the Yangtze River, and you live at the tail of the Yangtze River. I miss you every day, but I can't see you. We drink the water of the Yangtze River together. When will this water stop flowing, and when will this hatred end? I only hope that your heart is like mine, and you will never let me down." The whole poem is full of famous quotes, and every sentence is amazing. Li Zhiyi did not use gorgeous words in this work, but connected the common image of the river flowing eastward with lovesickness. It can be said to be a "genius", and the realm is so high that it is hard to find an opponent in a thousand years.

Many people's impression of Li Zhiyi is just this Song Dynasty poem, and they don't know much about his life. Li Zhiyi, courtesy name Duanshu and pseudonym Guxi Jushi, was born in Wudi (now Dezhou, Shandong) in the eighth year of the Qingli period of the Northern Song Dynasty (1048). Li's family was a scholarly family. Both his grandfather and father had served as officials. His father, Li Qi, was a Jinshi graduate and had served as a doctor of the Ministry of Rites and later as the Shaoqing of the Ministry of Rites.

Li Zhiyi has read a lot of books since he was young, and is good at poetry, calligraphy and painting. He passed the imperial examination at the age of 20, and was appreciated by Fan Chunren and Su Shi for his literary talent. Fan Chunren was the son of Fan Zhongyan, and his experience of interacting with him also allowed Li Zhiyi to meet many celebrities at that time. Later, he became a disciple of Su Shi, which made him improve his knowledge and calligraphy.

Li Zhiyi had two confidantes in his life. The first was his first wife, Hu Shuxiu, a lady from a famous family with extraordinary talent. He and Hu stayed together for decades and experienced the ups and downs of their official careers together. Unfortunately, when he was 56 years old, his wife passed away. According to him, "I was in Taiping Prefecture for four years. In the first year, I lost my son and wife. In the second year, I was sick and exhausted. I passed away in spring and summer. In the third year, my wife died, and my children died one after another. At the beginning of the fourth year, ringworms covered my body, and then I suffered from colds."

His daughter-in-law and wife died one after another, and he himself was seriously ill. His life seemed to be at a dead end. It was at this time that another confidante came into his life, the 17-year-old Yang Shu. He also wrote "Bosuanzi" for Yang Shu. Yang accompanied Li Zhiyi until his death. Although the two were more than 40 years apart in age, they loved each other.

There are very few calligraphy works handed down by Li Zhiyi. The most classic one is "Bian Di Tie", which is written in running script, 28.3 cm in length and 35.8 cm in width, with 10 lines and 96 characters. It is now in the collection of the Palace Museum in Beijing. This post was influenced by the brushwork of Su Shi and Huang Tingjian. The strokes are vigorous and round, with a well-proportioned structure, and the strokes are mainly rounded. The characters are shaped according to the characters, and they are tilted and varied. The characters are of different sizes and heights, and the brushwork is natural and unrestrained, which is quite talented.