news

한어Русский языкEnglishFrançaisIndonesianSanskrit日本語DeutschPortuguêsΕλληνικάespañolItalianoSuomalainenLatina

Jiang Chenying's calligraphy, whether in regular script or cursive script, exudes a sense of elegance. Anyone who has studied history can write good calligraphy. As a scholar from Jiangsu and Zhejiang, his calligraphy style naturally formed a beautiful style.

The first half of the history of calligraphy in the Qing Dynasty was dominated by postscript studies, while the second half was the heyday of stele studies, with many representatives emerging. Jiang Chenying (1628-1699) was one of the postscript scholars.

Each generation of calligraphers faces the following two problems: the relationship between themselves and tradition, that is, where to start learning; and the relationship between individuals and the trend of the times. If the relationship between these two aspects cannot be handled well, then it will become more difficult to become the "foundation" of calligraphy.

He used these two lines to push Jiang Chenying to the forefront. Jiang Chenying learned calligraphy from Dong Qichang, but he was not bound by Dong. He said: "Huating School of Painting is too shallow. Once it imitates, it loses the ancient meaning." Jiang Chenying made unremitting efforts to get rid of the barriers of Dong's calligraphy and transform the calligraphy style that was prevalent in the Qing Dynasty calligraphy world.

Jiang Chenying's calligraphy can be traced back to the Tang and Song dynasties. He respected the Wei and Jin dynasties and admired the ancient method. In a sense, he went from regular script to regular script, which eliminated the poison of the official script. In terms of his calligraphy, Jiang Chenying, Wang Shihong, He Zhuo and Chen Yixi are known as the four masters of the early Qing Dynasty.

Jiang Chenying's "The Goddess of Luo River" in small regular script has no exact date, but judging from the style of calligraphy, it should have been written in his later years. The brushwork is elegant, inheriting the style of Tang Yu, Zhu, Ou and other masters, and integrating the style of Han and Wei. As Huang Yi said, "This is the authentic regular script, which is rare in the world."

Overall, this painting has a great connection with Wang Xizhi's "Thirteen Lines". It can be said to be a copy, or it can be said to be created by the artist himself. The signature is "Written by Jiang Chenying", which seems to have been written recently. There are also several seals on it, which shows the value of this painting.

This is something created by the ancients. There are no restrictions, no rules, and no rules at all. If you try too hard, it will be difficult to achieve the best state.

Jiang Chenying's small regular script is not wild and strange, but plain and unadorned. Although it has the shadow of the library, it does not imitate the handwriting of others, but deliberately lengthens its own strokes to form a distinct personality. However, the way of drawing the downward stroke is too casual and a bit deliberate, giving people a stiff feeling. If it becomes a habit, it will destroy the style of painting.

Jiang Chenying was studious since childhood and was well-versed in classics and history. He was famous in the literary world and was known as one of the three Jiangnan heroes together with Zhu Yizun and Yan Shengsun. The Draft History of Qing Dynasty praised him as "brilliant in writing, erudite and talented". He was repeatedly obstructed, so he was named "Da Jin".

Later, he "struck back" and was recommended to the Ming History Institute as a commoner, responsible for compiling the criminal law, creating a precedent for "commoners compiling history" in the Qing Dynasty. In a sense, Jiang can also be regarded as a "cross-border talent".

In another sense, calligraphy is also a "general study". Jiang Chenying is a man of great learning and erudition. Whether in the Ming History Museum or in the Hanlin Academy, he must learn calligraphy, because it is the basic skill of ancient scholars. Therefore, his characters must be very skilled. Once he has his own system, his unique calligraphy style will naturally show up.

Jiang Chenying rose from an ordinary scholar to a high position. In his seventies, he passed the imperial examination and was named a Hanlin scholar. It can be said that "the hero was old and his ambitions were hard to fulfill." But later, because the examiner cheated, he committed suicide in prison.

Jiang Chenying is a scholar at heart. Ximing, Zhanyuan, Weijian, these names all show Lin Quan's ambitions. But once he entered the officialdom, there was nothing he could do.

Whether it is Tao Yuanming's words in "Returning to the Countryside": "I go, I go, I go! Since my heart has become my form, why should I worry and grieve alone?" or Su Shi's poem in "Reduced-Character Mulan Flower: Farewell to Zhao Chang, the Governor of Dongwu who lost his official position and returned to Haizhou": "It is better to go home. Two acres of good land are nowhere to be found. Go back, go back. When can the land be cultivated?", it is the best proof.