Portrait of He Shaoji (painted by Yang Pengqiu in the Qing Dynasty)
He Shaoji (1799-1873), the name Zizhen, the name Dongzhou, alias Dongzhou Jushi, the late name Susuo, was a native of Daozhou, Hunan (now Dao County). Late Qing poet, painter, calligrapher.
He Shaoji experienced hardships in his childhood. In the sixth year of Daoguang (1826), the family moved to Beijing. Two years later, Ho Shaoji made up for the meal. In the eleventh year of Daoguang (1831), he took Yougongsheng. The following year, he followed his father to Ningbo and ascended to Fan's Tianyi Pavilion. In the fifteenth year of Daoguang (1835), Zhongju people. In the following year, he was awarded the title of editor of the Hanlin Academy. He has served as the school manager of Wenyuan Pavilion, promoted by the National History Museum, and compiled by Wuyingdian, etc., and has served as the chief and deputy examiner of Fujian, Guizhou, and Guangdong township examinations. In the second year of Xianfeng (1852), he was awarded Sichuan Xuezheng. In the sixth year of Xianfeng (1856), he offended the powerful because of his current affairs, and was denounced as a lie, and was demoted and transferred to a position for "private crimes" in the ministry. Ho Shaoji then resigned from his official position. In the tenth year of Xianfeng (1860), he lectured at Luoyuan Academy in Shandong. In the first year of Tongzhi (1862), he lectured at Changsha Chengnan Academy. In the ninth year of Tongzhi (1870), he resigned from the college chair due to illness. In the following year, he went to Haomen, lived in Suzhou, presided over Suzhou and Yangzhou Book Company, and lectured in the school magazine "Commentary on the Thirteen Classics", lectured in Zhejiang Xiaoliantang, traveled to and from Wu Yue, and taught students. In the twelfth year of Tongzhi (1873), he was ill in Suzhou Province, died at the age of 75, and was buried in the southern suburbs of Changsha.
He Shaoji is very knowledgeable and talented. Through history, you Jing Primary School, next to the gold and stone research. Calligraphy is a family of its own, tracing back to the ancient seals of the Qin and Han dynasties, down to the north and south tablets of the six dynasties, all of them are chasing by hand, and cursive writing is especially the crown of a generation. It has the reputation of "the first in the Qing Dynasty". He is one of the representatives of the modern Song poetry school. His works include "Commenting on the Passage", "Cherishing the Tao and Tasting the Zhai Sutra", "Dongzhou Thatched Cottage Golden Stone Baba", "Dongzhou Thatched Cottage Poems", "Dongzhou Thatched Cottage Notes" and so on.
Zhao Zhiqian (August 8, 1829 – November 18, 1884), Han nationality, was a native of Huiji, Zhejiang (now Shaoxing). The first word Yifu, the number Leng Jun; Later, the word 撝 (huī) uncle, the number of sad hermitage, plum hermitage, no stuffiness, etc. Famous calligrapher, painter and seal carver in the Qing Dynasty. Together with Wu Changshuo and Li Liangyu, he is known as the three representatives of the "New Zhejiang School", and together with Ren Bonian and Wu Changshuo, he is known as the "Three Great Painters of the Late Qing Dynasty". Since childhood, he has been reading and learning calligraphy, and has been well-read and knowledgeable, and has made a living from calligraphy and painting. I have participated in the examination three times, but I have failed all of them. At the age of forty-four, he served as the editor-in-chief of "Jiangxi Tongzhi", and served as the magistrate of Poyang, Fengxin, and Nancheng, and died in office.
Since his youth, Zhao Zhiqian has assiduously devoted himself to the study of scriptures, literary exegesis, and the study of gold and stone evidence, and has made considerable achievements. Especially fine calligraphy, painting, seal carving. Zhao Zhiqian is good at learning from his predecessors and contemporaries, and is not limited to his predecessors and has the courage to innovate. In painting, he was a pioneer of the "Shanghai School", and his "gold and stone painting style" created by calligraphy and printing into painting had a great impact on the development of modern freehand flowers. In calligraphy, he is the most powerful practitioner of the Qing Dynasty stele theory, and the formation of his Wei stele style of calligraphy has further improved the stele technique system, thus becoming the first model of the Qing Dynasty to truly comprehensively learn the stele in the Zheng, Xing, Seal, and subordinate bodies; In seal carving, he took the method widely on the basis of his predecessors, integrated it, and creatively inherited the creative mode of "printing from the book" since Deng Shiru by means of "seeking printing outside India", and opened up an unprecedented new realm.
Floral four-screen strips
Zhao Zhiqian, Qing Dynasty
245cm×60cm×4
Collection of the Jun Kuang Art Institute
Zhao Zhiqian returned in a huff!
At the wine table in the evening, he was scolded by He Shaoji again. This is not the first time, in Hangzhou, every time I have dinner with He Shaoji, I have to force him to discuss calligraphy, in fact, it is a deliberate provocation, so as to find a topic to scold him fiercely! What's more, I have to laugh at Zhao Zhiqian with my fellow countrymen at the same table again!
He Shaoji is disrespectful to the elderly, Zhao Zhiqian is really angry, so he wrote to a student of He Shaoji, named Mengyi, and scolded back, "The behavior of a village husband is ridiculous and ......."
In the "Letter to Mengyi" written by Zhao Zhiqian to He Shaoji's student Mengyi, it was clearly written how He Shaoji insulted himself:
Taishi regards his younger brother as an enemy, before he was in Hangzhou, and he had a banquet several times, and Taishi forced his younger brother to discuss books. It is meant to be a challenge to do what it is...... However, he still criticized the villagers and the vulgar behavior of the villagers, which is ridiculous...... The younger brother is in the book, depending on the old one, it is the same, and it is not the same as the one and the other.
The gist is: At the wine table, He Shaoji relied on his high morality, first asked Zhao Zhiqian to express his opinions, and then scolded him, and laughed with his fellow countrymen. Zhao Zhiqian showed his work to the calligrapher Wu Rangzhi who was also at the banquet, Wu Rangzhi agreed, and showed it to He Shaoji, which was another scolding.
In this case, Zhao Zhiqian, don't you go to such a dinner again and again! No way! First, He Shaoji, the elder Zhao Zhiqian, is thirty years old and is an elder. Moreover, He Shaoji was an absolute boss in both the political and art circles at that time, while Zhao Zhiqian was a shabby posterity. It is an honor to be able to sit at the same table with He Dongzhou, who is famous all over the world!
Zhao Zhiqian Zhang Anza said
Zhao Zhiqian must have admired He Shaoji in his early years, and he wrote in the inscription of a couplet, "He Daozhou (He Shaoji) has the wonder of turning into a human being." In fact, from Zhao Zhiqian's early works, we can clearly see the shadow of He Shaoji.
Perhaps because he couldn't stand He Shaoji's insults, Zhao Zhiqian's works after the age of thirty-five were very different from He Shaoji, according to Zhao Zhiqian's own words: "Then the wind and horses are not related." Both of them are famous for the combination of steles and posters, but Zhao Zhiqian's stele is mainly based on the north stele, while He Shaoji's stele is mainly based on the Tang stele and the Han stele.
Now, Zhao Zhiqian and He Shaoji are both popular book styles in the national exhibition, and Zhao Ti even presses He Ti even more, which wants to let He Shaoji know underground, and he must not jump up and scold for three days and three nights to relieve his hatred? !
Zhao Zhiqian's letter to Jiang Xiangzha (partial)
He Shaoji and Zhao Zhiqian, the backbone of Qing Dynasty epigraphy, are more than 30 years apart. According to Zhao Zhiqian's letters, the two met several times in Hangzhou in the ninth year of Tongzhi, and they were called by their elders and were quite respected, but every time they talked about the theory and creation of calligraphy, they ended in quarrels.
"Mr. He Zizhen came to Hangzhou and met it several times, the old generation is romantic, everything is authentic, it is really unattainable. The younger brother does not discuss books with him, so he gets along with each other, and if he talks about this matter, it will lead to a big dispute, which is very boring. ”
In the historical context of the Qing Dynasty's stele from the crisis of the monolithic north stele to the compatibility of the stele and poster, He Shaoji and Zhao Zhiqian both played a huge role in the history of calligraphy. In the context of convergent culture, in the relationship between private ladies and disciples, why did He Shaoji criticize the younger generation whose reputation was far inferior to his own (at that time) as if he were an enemy? Why does Zhao Zhiqian despise the "merry old man" he admires?
He Shaoji: Calligraphy
What caused the two to be bitter was the difference in their concept of stele science. Both emphasize that the foundation of calligraphy lies in the degree of seal division, and it is not a seal after all, but He Shaoji is new in ancient times, and Zhao Zhiqian is retro in the new. The two have different understandings of "ancient", so the connotation of "ancient" pursued and the style of expressing "ancient" are also different.
Zhao Zhiqian calligraphy
Although He Shaoji said that he was "born in the south and did not pay attention to it", his essence of Yan Manuscript shows that he is familiar with the study of Tixue, but it is not the family law of the two kings. He Shaoji is one of the few calligraphers who hold the idea of respecting the Tang Dynasty in the tide of epigraphy in the Qing Dynasty, and in his eyes, the Jin and Tang traditions and what people usually think have undergone qualitative changes, and what he is concerned about is another "Jin and Tang tradition", believing that the real Jin and Tang traditions and the style of calligraphy of the Northern School are not opposed to each other, but are the same.
While emphasizing the backbone of the stele, the charm of the post and the exquisite performance of the penmanship of the post are unique among the stele scholars of the Qing Dynasty. It was Zhao Zhiqian's introduction of Erwang Tixue, who was dissatisfied and criticized by He Shaoji, into the creation of the North Monument, that made the creation of the North Monument reach the peak of the Qing Dynasty Monument.
He Shaoji: Calligraphy
He and Zhao have different concepts of stele learning, and the method of taking steles, creative interests and goals are different, but the integration of steles and posters is undoubtedly indiscriminate in He Shaoji, and the new path of Zhao Zhiqian's stele integration is actually inspired by He Shaoji, from the perspective of originality of stele learning, Zhao Zhiqian is beyond He Shaoji and beyond He Shaoji. The so-called "grievances" caused by differences in the concept of calligraphy by He and Zhao are just episodes on the road of innovation that suits them under the spirit of forging ahead and establishing a sect.
When one person's happiness is lost to the charm of another, only the impulse to resist can maintain his dignity, so the two most precious soulmates become the strongest opponents, admiring, imitating, confronting, and deviating, and their own independence and creativity need to be balanced by a competition.
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Transferred from: Shenzhen Municipal Book Court