Zhao Zhiqian (1829-1884) was born in Shaoxing, Zhejiang. At the beginning, it was named Yifu, named Lengjun; later it was changed to Shushu, named Bei'an, Mei'an, Wuban, etc. In his youth, he was famous all over the country for his talent. He was an outstanding calligrapher, painter and seal carver in the Qing Dynasty. His seal cutting is based on the inscriptions of Qin and Han Dynasties, and he uses the essence and macro to form his own style, known as "Zhao School". His attainments in calligraphy are multifaceted, and he can integrate the strokes of real, cursive, official script and seal script into one, complement each other and complement each other. Zhao Zhiqian once said: "Independence is expensive, the world is huge, many people say everything, independence is hard to find." He made unremitting efforts in poetry, calligraphy, painting and meaning all his life, and finally became a master of his generation.
Zhao Zhiqian is proficient in calligraphy, painting and seal cutting. His calligraphy style belongs to the line of Deng Wanbai, Bao Shenbo, and Wu Rang, and he learned Beibei from Bao's writing method. His seal script has his unique light. His talent is unique, but enough to be carried forward, so he produced works with a very modern flavor. He himself was somewhat reserved about this point, but people at that time did not fully understand him. Although his seal and official works sometimes have some ink seepage, the wonderful feeling expressed by his sharp brushstrokes has to be overwhelmed.
Under the influence of Bao Shichen and others' calligraphic theory of "respecting monuments and suppressing posts", a great genius appeared in the Qing Dynasty——Zhao Zhiqian, who dabbled in various calligraphy styles and left a large number of excellent works. Taking running script works as an example, we can see a kind of fortitude and vigor that is different from traditional cursive script. Running cursive is more likely to arouse emotional excitement, but Zhao Zhiqian can integrate the dignity of seal script, official script, and regular script into this elegant and free cursive script, in which Zhao's inner feelings and spirit can still be glimpsed.
Inscription on Zhao Zhiqian's printed score
Can be a portrait of the mountain, seal script, mirror heart, made in 1870
Running script "Shi Hengshui Divided" Mirror Heart Paper
This five-character regular script comes from the poem "Looking at the Lake from Nanshan to the North by the Lake" by Xie Lingyun in the Southern Dynasty and Song Dynasty: "The stones and water diverge, and the dense forest path disappears." It is written in the style of Wei Bei. The brushwork is vigorous and deep, and the ink color is as thick as lacquer. Although it is taken from the Fabei Stele, it still retains the charm of Yan characters, which is the standard "Yan Di Wei Mian". This calligraphy is strict but not rigid, and you can see the danger in the flatness, and the gentleness in the square folds. For example, the characters of "horizontal" have dense knots, but the beginning of the "wood" part is long and powerful. Another example is the long horizontal line in the middle of the word "Liu", which is strong and powerful, and the strokes are full of satisfaction and spirit. This book pays attention to the avoidance of unevenness and the contrast of density and density, all of which are natural and charming.
four screens in seal script
four screens in seal script
Seen in the 2005 Spring Auction of China Guardian International Auction Co., Ltd. Chinese Ancient Paintings and Calligraphy
Size: 246.5×59cm×4
Brief introduction: Seal: Kuaiji Zhao Zhiqian Sealed Letter Longevity
Title: Zichen Zunbrother Gongzu adults belong to Zhuan Qianfu Analects. Zhao Zhiqian.
Zhao Zhiqian's "Run Script with Seven Characters and Four Screens of Ancient Poetry" Tiger Banner paper, each 166.0cm in length and 34.0cm in width
Collection of Tokyo National Museum, Japan (gifted by Kikujiro Takashima)
Book Ancient Sentence Four Screen Paper 01
Book Ancient Sentence Four Screen Paper 02
Book Ancient Sentence Four Screen Paper 165X44cmX4 Collection of Xiling Yinshe
The material comes from "Xiling Yinshe Hundred Years Collection Collection" (Xiling Yinshe Publishing House)
The axis of "Ode to Heart in Regular Script", collected by the Palace Museum in Beijing, on Korean paper, measures 128.5cm in length and 36cm in width.
This axis regular script records the article "Ode to Heart" written by Zhiguo, a monk of the Sui Dynasty. There are 6 lines in total, 22 characters in each line. There was this person before the later Sui Dynasty and the second party of India. In the lower left corner, there is a collection seal of "Shi's Collection". There is a line of jade inscriptions by Shishou on the side of the mounting, and the seal is "Jade Seal of Shishou". This axis was written by Zhao Zhiqian at the request of his friend "Ganbo". It was in the fourth year of Tongzhi (1865) when Zhao was 37 years old.
The calligraphy on this axis is majestic and straight, with clear edges and corners, and the characteristics of Wei Bei calligraphy are very obvious. It represents the calligraphy style of Zhao Zhiqian's patriarchal Beibei calligraphy in the early period. It is a refined work of Zhao's early calligraphy and an outstanding Beibei calligraphy in the late Qing Dynasty. work. This book has square and neat concluding characters, still retains the charm of official script, and the side edge is often used at the beginning of the pen, which is full of sharpness and is very distinctive.
The text recorded on this axis is an important calligraphic treatise written by Zhiguo, a monk from Yongxing Temple in the Sui Dynasty. Zhiguo is good at Li, Xing, and cursive scripts, and wrote his experience into "Ode to Heart" to show the method of writing characters. This article was later annotated by Yao Peizhong of the Qing Dynasty, and it was popular at the time.
Zhao Zhiqian "Linyi Mountain Carved Stone" paper version
Qin's "Yishan Carved Stone" has a long history. The original stone was lost in the Northern Wei Dynasty, and there were many reprints and engravings by later generations. Today, people can no longer get a glimpse of its charm. Zhao Zhiqian's copy basically uses his own brushwork to interpret the stele, and has become an excellent example for future generations to learn seal script.
Zhao Zhiqian's "Five Characters in Lishu" is collected by the Palace Museum.
The strokes of this work are pure, the atmosphere is open, the blood (breath) is unimpeded, and the expression is radiant, which can be called free and easy, square and powerful. Swaying freely means that Zhao Zhiqian's brushwork can be lifted up, laid down, and closed; Fang Junqiu means that Zhao Zhiqian's calligraphy has the foundation of Beibei, with Beibei as its quality, and Wanbaishan people as its writing. This work is all in line with its law, its body, and its spirit.
Seven-character couplets of Gong Yibu's poems in seal script
Zhao Zhiqian's collection of regular script (yì) crane inscription seven character couplets on paper
Zhao Zhiqian's "Seven Characters in Lishu" on paper, hanging scroll 136×32cm×2
This couplet "cleanly practice the cold river to look wide, and Chiping whispers to each other in the round sun". The brushwork is thick and smooth, with rhythm and rhythm, and the meaning of the strokes is connected between the characters, and the emotions are related. Judging from the arrangement of each row, the whole work is full of bone strength and full of flesh and blood, emphasizing the shape with the majestic and majestic Beibei charm, which is becoming more and more magical, which is Zhao Weng's superior work.
Zhao Zhiqian's "Seven Characters"
This lively and strange but not dull official script couplet was made by Zhao Zhiqian. Zhao Zhiqian not only fully expresses the characteristics of brushwork excavated from Beibei in regular script and running script, but also applies this unique brushwork to his seal script and official script. This feature can be seen. The square engraving of the character's stippling and the turning of the pen at the turning point make the stippling full of power and full of three-dimensional effect. The glyph structure is based on the side, and the center of gravity extends from the lower left corner to the upper right, seeking balance in unity. He is also good at using the resoluteness of his strokes and the rapid rhythm changes to fully reflect the sense of strength and movement. Therefore, his calligraphy looks lively and strange but not rigid.
Zhao Zhiqian's "Seven Characters in Running Script" hanging scroll, paper 133×30.5cm×2
Seal: Zhao Zhiqian, Uncle Sui
Inscription: Ping Sanzun's lord is a book of Dongpo's poems. Brother Zhao Zhiqian.
There are thousands of seal scripts horizontally draped (3.36 million yuan, Xiling, December 2009)
Inscription: Jiezi eleven zhang asks to write these three characters, and it is said that Wenyun is happy, happy, happy, and happy. In "Hanshu", the word joy is mostly written as 憙. Eucalyptus "Spring and Autumn Annals" Yuan Mingbao said: "The two titles are happy, and the joy is clear, and the joy is 憙, 憙 Tianxin." Song Jun's note: The heart is the palace where the king of heaven governs, and everything needs to flourish, so it is joy. If you have Wanxi, you should follow the righteousness, if you say Wanle, it is not Wanyue, and it is not allowed. In the eighth month of Dingmao in Tongzhi, Zhao Zhiqian knew both books.
The Fast of Fude Longevity Frame, ink on paper (6.9 million yuan, passed on in Beijing in June 2011)
This work was published in many collections of Zhao Zhiqian's works. The style of calligraphy is firm and soft. The unique charm of calligraphy. For the horizontal strokes of the characters "Chang", "Shou" and "Zhai", the tip of the pen should face up to the left when starting the pen, and then cut into the paper with the side of the pen, and then stroke smoothly from left to right. In the process of writing, the wrist is exerted, and the nib and belly are used together, so as to achieve a full and thick writing effect, and also make the longer horizontal pens often have a slightly curved shape. When closing the pen, there is no pause, but it is lifted slightly like the lower right corner, forming an oblique cut surface similar to the starting point of the pen. The vertical strokes of the characters "Fu", "De" and "Zhai" are similar to the horizontal strokes. They also start from the side and close to the bottom right. The ends of the characters "Fu", "De" and "Zhai" are often thick and plump due to heavy pressing. The horizontal hook and vertical hook of the word "Shou" are pushed out along the front flat, which is slightly similar to the cast. The strokes of the Chinese characters "Long", "Zhi" and "Zhai" are stretched out, reflecting the writing performance of the brush. The whole work is thick and heavy, like a knife carving a stele, but without losing the brushwork, it reflects Zhao Zhiqian's strong ability to control the brushwork, and complements the majestic and vigorous characteristics of the stele with the characteristics of the naturally changing brushwork, creating a calligraphy style of stele learning new chapter of .
Zhao Zhiqian "Fan in Seal Script"
Zhao Zhiqian entered the seal script with the brushwork of the statues of the Northern Wei Dynasty. The beginning and end of the painting clearly use the brushwork of statues to start and end, and the sharpness is subtly revealed in the lifting and pressing, during which the momentum is flowing, which is amazing.
For the Year of the Crane
Nantian old man's poems, running script fan
"Fan in Seal and Official Script"
