[Editor's Note] Fu Shan was a Taoist thinker, calligrapher, and physician during the Ming and Qing dynasties. His initial name was Dingchen, the character Qingzhu, the word Qingzhu, and the aliases of Yunweng and Guanhua. Fu Shan was a famous Taoist scholar who knew everything about philosophy, medicine, Neidan, Confucianism, Buddhism, poetry, calligraphy, painting, golden stones, martial arts, and examinations. At the same time, he is also considered to be a model figure for maintaining national integrity in the late Ming and early Qing dynasties, and together with Gu Yanwu, Huang Zongxi, Wang Fuzhi, Li Yong, and Yan Yuan, he was called the "Sixth Master of the Early Qing Dynasty" by Liang Qichao.
Statue of Fu Shan
(Continued from the previous part) The change of the country brought to Fu Shan's life was a huge turning point. In the winter of 1644, Fu Shan became a Taoist monk at Mount Wufeng in Shouyang. The status of a Taoist priest may be able to shelter him from disasters and may help him maintain his integrity, but it does not bring any income to Fu Shan. Therefore, after entering the Qing Dynasty, Fu Shan was often accompanied by hunger and poverty. Faced with such a dilemma, Fu Shan could only cheer himself up: "The six poles are weak and weak, and the poverty alleviation must be strong... Thin old fields, cultivating the true dojo. "("Poverty Tolerance") can be a mortal fetus in the flesh, and it is really the same for food, clothing, shelter and transportation. Fu Shan was often worried about the rice under the pot and the tiles on the roof, and from time to time he would write to his friend Dai Tingyu to beg for rice--"If you want to go to Zhaoyu begging rice, you can't expect it, and three heads and two stones are enough" ("With Dai Feng Zhongshu"). As for the residence, it is even more a place to move around. Fu Shan's house in Tutang Village was still built by Wei Yi'ao in the tenth year of Shunzhi (1653).
Fu Shan's "Cursive Seven Words and Poems Album"
"If you don't look good, you will be a good doctor", which is the academic cultivation of traditional Chinese readers. Fu Shan, who is well educated, also has a smooth medical theory. As a result, practicing medicine and selling medicine became a source of livelihood for Fu Shan. Fu Shan opened a medicine shop in Taiyuan, run by his son Fu Mei, while he himself took refuge in the suburbs. Fu Shan said to himself: "Physiological and faceless, chai beard bone cold." Save medicine for people, as I am sick. Wrap up the clouds, float and sink to see the water. The curtain was still laughing to himself, and the poem was not bearded. Fu Shan laughed at himself, although his ambition was to be in Ji Shi Kuangye, the current predicament could only be to make a living in the first place Fu Shan was good at looking at gynecology, but also looking at pediatrics, and andrology. There are still surviving medical manuscripts on women's medicine, which detail women's menstruation, childbirth, nursing and other ailments, and are annotated with detailed prescriptions. Because of his superb medical skills, there was an endless stream of people who came to Fu Shan for medical treatment. According to Dai Mengxiong's "Biography of Fu Fujun", "those who come to the door to seek directions are often full", and Fu Shan, regardless of "nobility and lowliness, never sees a tired face".
Fu Shan's Four-Body Book (Partial)
In family life, after the death of his twenty-seven-year-old wife Zhang Jingjun, Fu Shan never remarried in his lifetime. "Fourteen years of broken love, a rather dashing body" (See the Sutra of the Great Masters embroidered by The Inner Zi Jingjun). At this time, his son Fu Mei was only five years old, and after that, father and son relied on each other for their lives and survived hardships together.
Fu Shan's "Seventy Short Stories of Shou Hu Mu Zhu Shuo Ren Zhou Lijun"
Fu Shan attached great importance to Fu Mei's cultivation of calligraphy and painting, which also made the artistic style presented by Fu Mei's pen very similar to Fu Shan, and even better in seal writing. Fu Mei, who grew up, not only became Fu Shan's right hand and left arm in life, but also became his confidant in art and learning. Fu Shan traveled in seclusion, and Fu Mei took care of family affairs; Fu Shan practiced medicine with Fu Mei as his assistant; Fu Shan annotated the scriptures, and Fu Mei circled together; Fu Shan had no time to socialize, and Fu Mei did not write calligraphy and painting; Fu Shan refused to be Qing, and Fu Mei did not conduct scientific research; even when Fu Shan was imprisoned for misfortune, Fu Mei sat with him.
Fu Shan's "Map of Qiushan Han Temple"
Unfortunately, in the twenty-third year of the Kangxi Dynasty (1684), Fu Mei died at the age of fifty-seven before Fu Shan. The white-haired man sent the black-haired man, and this blow made Fu Shan feel very sad in his heart. Fu Shan wrote the Weeping Poem in cursive writing to vent his inner mourning. The poems are divided into "Crying Loyalty", "Crying Zhi", "Crying Strange Talents", "Crying Dry Force", "Crying Text And Crying Endowment", "Crying Poems", "Crying Books", "Crying Characters", "Crying Paintings", "Crying Economy", "Crying Courage" and other articles, describing Fu Mei's life and his talents. Fu Shan wrote more and more grass as he wrote, and scribbled with his hands, which showed his sadness that was difficult for him to help.
Fu Shan's "Seven Verses of Xingcao"
With such a depressed mood, shortly after his son Fu Mei left, the seventy-eight-year-old Fu Shan also passed away, taking away the regret of not being able to restore the country, and what could not be taken away was the poetry and paintings that have been passed down to this day. (To be continued, the author of this article is Zhao Yanzhe, the unit is Beijing Academy of Painting, originally published in "Chinese Calligraphers and Painters", No. 87)
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