A brief introduction to Deng Shiru, a seal engraver and calligrapher of the Qing Dynasty. His seal script works include "Zhang Zixi Inscription" and so on.

Character introduction

Deng Shiru's original name was Yan. Because he avoided the taboo of Renzong, he wrote in Chinese characters. He read less and was good at stone carving. He was very good at seal seal imitation. Integrity and integrity have nothing to do with each other. At that time, Weng Fanggang was good at dividing seal scripts, so he did it with Shi Ru, who could not reach the door. Liu Yong and Lu Xixiong were shocked when they saw his book. Come to ask for acquaintance. Bao Shichen praised his seal script as a divine product. Qian Qian and his ministers traveled to Jiaoshan, and saw the seal script "Heart Sutra" on the wall, which said: "This must have been done by Shao Wen (Li Yangbing), how can there be such a person in the world?" Shaochang was a guest at Mei B's family in Jiangning, and he had a panoramic view of the Qin Dynasty, There are hundreds of copies of each of the rare gold and stone books since the Han Dynasty. Cao Wen said that all four styles of calligraphy were the best in the Qing Dynasty. The craftsman who made seals came to and from the Qin and Han Dynasties, and became his own family, known as the Deng School in the world. Born in a poor family, both his grandfather and father loved calligraphy and painting, and both lived in commoners until their old age. Deng Shiru studied for one year when he was nine years old. After dropping out of school, he made a living by collecting wood and selling cakes and bait. At the age of 17, he began his artistic career by making a living by writing and engraving. His social status was low throughout his life. He himself said: "I didn't study when I was young, and I experienced all kinds of hardships and hardships. When I was thirteen or fourteen years old, I secretly rejoiced in the book. When I was twenty, my grandfather took me to Shouzhou, and I was able to teach the old man now, travel in the rivers and lakes. People should not treat each other as literate people." When Deng Shiru was about 30 years old, he met Liang Tong, the lecturer of Xili College in Shouxian County, Anhui Province. He was introduced to Jiangning by Liang Tong and became a guest of Juren Mei H. Deng Shiru stayed with Mei H, the great collector in Jiangning, for eight years. "Every day I feel refreshed, and the ink fills my plate. By night, all the ink is gone, and the cold and heat never stop." Soon it was recommended by Cao Wenqian, Jin Fuzhi and others, and the book's title became popular. In the fifty-fifth year of Qianlong's reign (1790), on the occasion of Emperor Qianlong's 80th birthday, Cao Wenzhi, Minister of Household Affairs, came to Kyoto in June and invited him to accompany him. In autumn, passing through Shandong, I climbed Mount Tai for a visit. After entering Beijing, Deng Shiru became famous in the calligraphy world for his calligraphy. In the fifty-sixth year of Qianlong's reign (1791), he served as an aide to Bi Yuan, the governor of the two lakes, for three years. Zhang Huiyan and Bao Shichen both learned calligraphy from him. A brief collection of past events

The running script "Chen Jihe Shu" written by Deng Shiru, a great calligrapher in the Qing Dynasty, is also related to a famous anecdote in history. Deng Shiru kept two cranes at home. It is said that these two cranes are at least 130 years old. One day, the female crane died, and only a few days later, Deng Shiru's first wife Shen also passed away. This coincidence caused many associations among the literati at that time. The 59-year-old Deng Shiru was extremely sad, and the crane screamed alone, relying on him for life. Because he couldn't bear to see the lonely crane's sad look, Deng Shiru chose the Jixianguan Buddhist Temple thirty miles away and fostered the crane in a monk's house. From then on, he carried grain and fed cranes, traveling thirty miles back and forth every month. Suddenly, one day, while he was staying at Daming Temple in Yangzhou, he received a report that Xionghe had been spotted by the prefect of Anqing and was captured back to the mansion. He immediately set off back to Anqing and wrote the "Chen Ji He Shu" in cursive script to express his love to Suo He, the prefect.

This article is written in a sad and touching way, making people cry. It is overwhelming in its momentum, and its diction is like clouds and heaven. It uses extremely parallelism, personification and other rhetorical techniques to recount the cranes and convey the cranes’ sad past. For the sake of this crane, he could put his life and death at risk, just as it is written in the book, "The power of an adult can move mountains, and the mountain people will turn into cranes, and the cranes will turn into mountain people without hesitation." The prefect received the letter, speechless, and soon Return the crane to the Buddhist temple.

Deng Shiru studied with his father when he was 9 years old, but dropped out of school at the age of 10. At the age of 14, he "could not go to school because of poverty, so he went from village to village collecting woodcutters and selling cakes and bait, and then became a slave to his job." However, under the influence of his grandfather and father, he developed a deep interest in calligraphy, epigraphy, poetry and prose, and made great progress. When he was 17 years old, he wrote the seal script "Xuelangzhai Inscription and Preface" for "the handsome old man", which was well received by people at the time. Since then, he has embarked on the road of calligraphy and engraving art. When he was 20 years old, he set up a school in his hometown and served as a children's teacher. He couldn't stand the students' "silly jumping" and gave it up. He went to Shouzhou (today's Shouxian County) with his father to teach education. At the age of 21, he resigned from the school because of the death of his wife. He traveled abroad and carved books. , to ease grief.

In the thirty-ninth year of Qianlong (1774), when he was 32 years old, he returned to Shouzhou to teach. He often carved seals and wrote fans in small seal script for the students of Shouchun Xunli Academy. He was highly appreciated by Liang Xian, the lecturer of the academy (a native of Bo County, who was famous for his good copying of Li Beihai's books), and recommended him to study at Mei Miu's family in Jinling (now Nanjing).

The Mei family has been a prominent family since the Song Dynasty. It is also the family with the largest collection of calligraphy and calligraphy treasures bestowed upon them by Emperor Kangxi of the Qing Dynasty. The Mei family has a collection of "secret treasures" and many rare epigraphy and stone books from the Qin and Han dynasties. Shi Ru looked at the Expo, studied it carefully, and worked hard. He stayed in the Mei family for 8 years, the first five years he specialized in seal script, and the last three years he studied Chinese characters. In forty-seven years, when he was 40 years old, he left the Mei family and traveled to various places of interest, copying a large number of ancient steles and inscriptions, honing his calligraphy art, and finally produced "Zhuanli Zhenxingcao", which has all the components. A large number of works of its own. In the forty-seventh year of Qianlong's reign, he traveled to Huangshan to She County, where he met Fang Junren, a famous epigrapher from Hui School, Cheng Yaotian, a classics scholar from Xinan, and Jin Bang, who was compiled by the Hanlin Academy and was good at the study of seal scripts. After being recommended by Mei Mi and Jinbang, he met Cao Wenqian, the Minister of Household Affairs. In the autumn of the fifty-fifth year of Qianlong's reign, on Hongli's eightieth birthday, Cao Wenwen came to the capital to celebrate his birthday and asked Deng Shiru to go. Shiru refused to go with Wenwen's entourage. Instead, he wore a straw hat and mango shoes and rode a donkey alone. When he arrived in Beijing, the calligrapher Liu Wenqing and the connoisseur Lu Xixiong saw the calligraphy and were greatly surprised. They commented: "This has not been done for thousands of years." Later, he was excluded by calligraphers represented by cabinet scholar Weng Fanggang and was forced to " "He immediately left the capital", and was introduced by Cao Wenqian to Bi Yuanjie, the governor of the two lakes and governor of the Ministry of War (at Wuchang) as a guest of honor, and taught Bi Yuanzi how to read "Shuo Wen Yuan". After three years in the office, he found it was not in line with his purpose, so he left.

In the 59th year of Qianlong's reign, when he was 52 years old, he returned to his hometown from Wuchang, bought 40 acres of land, built a house the next year, and wrote a plaque with the words "Tieyanshan House" "Place it at the head of the door. He often engraved books and sold them to help the villagers. He also tried his best to help those who were too poor to be buried. In the next 10 years, his calligraphy and engraving art became more and more perfect. Regardless of his age, he often traveled to Jingkou (now Zhenjiang), Nanjing, Yangzhou, Changzhou, Suzhou, Hangzhou and other places. A year before his death, he climbed Mount Tai to meet friends and compare skills. When he was 60 years old, he traveled to Jingkou, met Bao Shichen, and taught him calligraphy for three years. He also used the key points of calligraphy to say: "You can walk a horse in sparse places, do not allow ventilation in dense places, and always think of white to treat black, and strange things will come out." "The book of the Six Dynasties is fully consistent with its legal test. When he was about to die at the age of 63, he still collected his disciple Cheng Heng's shirt into the seal script "Zhang Zixi Ming". That year, I learned that there were eight steles in Jingxian County that needed to be written in large seal script, small seal script, Fenshu and Xingkai script. I accepted the invitation with great enthusiasm. Only one of the steles was written because of illness and died at home in October of the lunar calendar. Folk wonder

Deng Shiru is tall, with a long beard floating on his chest. He has an upright personality, no compatibility, no grace, no flattery, no tackiness. He can be said to be an indomitable person. Great man.

Because his ancestors came from a humble background and lived in an old and poor house, he experienced the ups and downs of the world throughout his life, living a life of "collecting woodcutters and selling cakes and bait, earning a living every day to support himself". He regarded himself as a "mountain man" and lay high in his old house in Huangjiang River, forgetting both his fame and his fame.

Why is it so indifferent? The era he lived in was the "Qianjia Era" which can be called a prosperous era in history. When he came to this world, the political situation had already been stable, and the world had already been smoothed by Aisin Giorro's hands that could shoot eagles and tigers. Life flows peacefully day after day with the river of time. We only know that he wore a straw hat, awnings, and a donkey, wandering around the world's famous mountains and rivers, like a lonely floating gull among the clouds and water. His good friend Shi Lifei once sent him these two poems: "It is rare to have a mind as pure as snow, and to know the floating clouds such as wealth and honor." Looking down on glitz, exaggeration, and fame is a far cry from impetuousness. "Suffering from a false reputation and singing in a low voice instead of pouring it into a cup", he does not have Liu Yong's complaints about his unappreciated talent; "Suffering from a lack of fame and a lack of years", he lacks Jia Kui's ambition and enterprising spirit; "Famous people fly in the sun and the moon." Go up, righteousness and wind and cloud soar", and he did not have Li Bai's ambition to help the world. He just became indifferent and regarded everything in the world as indifferent. He was so indifferent that he was willing to be lonely and stay away from the world of mortals. However, he really loved calligraphy and couldn't bear to give it up for a day. Every morning, he grinds a plate full of ink, then swipes it around, waiting for the ink to dry before going to bed. The so-called "love" means that in Deng Shiru's life, in addition to being born in a humble background and suffering from the hardships of life, he also had to put fame and fortune behind his mind and devote himself wholeheartedly to the hard training of art.

He is not afraid of sitting on the bench for ten years, and he is not willing to be like some "celebrities" who are keen to appear on TV today, appear in newspapers tomorrow, and win awards the day after tomorrow. Otherwise, his life will be miserable every day.

Back then, when he was a secret friend of Bi Yuan, the governor of Huguang, he “discussed Taoism and art with others, and he would not borrow anything from what he held, and he would wear commoner clothes and brown hats, and he would be among distinguished guests, officials, and officials. "He is like a civilian artist. However, "Every day I see ants flocking to their feet, flattering and fawning, this is what is called the right time, and it is also what is called a shortcut today. To get a great place, you will probably have such an appearance. How can I say that Yan Neng is like this? Every day I am in the company of this generation, I'm very depressed." He couldn't stand the swarms of ants in the officialdom, and he didn't want to flatter the powerful. So, even though he is a friend of the curtain, he is also isolated - he is not suitable for that ecological environment. So, he walked away and returned to the world of society, where the fittest adapted to himself. From then on, he never mingled with officialdom again for more than sixty years in his life.

Deng Shiru’s stubbornness in not wanting to be kitsch and clever, to put it mildly and fashionably, does it mean that he has the so-called “civilian consciousness” or “folk complex” that ordinary literati lack? Deng Shiru's original name was Yan, and his courtesy name was Shiru. He called himself naughty boy, Wanbaishan people, Wanbaishan people, Longshan woodcutter, Fengshui fisherman, etc. Comparing oneself with a stone, describing oneself with a stubborn stone, the uniqueness of a mountain man seems to float before his eyes. Speaking of Deng Shiru's character, his contemporaries spoke highly of him. Some say "noble" and some say "noble". I only want to say two things here. First, when Deng Shiru first came to the capital, people at that time regarded Weng Fanggang, a scholar in the cabinet, as the master of calligraphy. Weng Yi was arrogant for a while, but Deng Shiru "does not pay attention to him alone". If you don't visit Grand Master Weng, is it because you don't want to make friends with powerful people, or because you despise his calligraphy? I dare not guess. But the consequences were as he expected. The domineering Weng Fanggang extremely belittled Deng Shiru's calligraphy, but Deng Shiru laughed it off and said, "I don't agree with him." Another thing may show how noble Deng Shiru is. Deng Shiru often lived in Jixianguan and got a crane. He fed it carefully and kept it in the monastery. He walked with it and it read with him, doing "two leisure tasks in the morning". Unexpectedly, a certain prefect fell in love with her and took the crane away. Deng Shiru was extremely aggrieved and wrote a stern letter demanding repayment. From then on, I stayed with the crane, morning and evening. When Deng Shiru died, the crane made a sharp chirping sound. After wailing for several days, it whirled, disappeared into the blue sky of the desert, and flew away. Crane, blue sky, disappearing into the distance - this is the picture that runs through my mind, and it is also the poetic state that flows before my eyes. Yes, dressed in cloth, looking up at the sky, coming with some concerns and leaving with no worries; now that I know that all things have spirits, I care less about the things outside me; "You go home by yourself and I will go home by myself" - the transformation of human and crane, leaving only A friendship between ancient and modern times. His good friend Yao Nai, a master of prose in the Tongcheng School, once wrote this couplet to him:

Fishing in the rain and plowing smoke in eighty-nine huts requires the belief that being rich is not as good as being poor;

Bamboo books with thousands of words, irrigating flowers and making wine will help you to know that you can be at ease, enjoy leisure, and be clear.

Don’t admire wealth and honor but be natural and timeless, don’t be emotional but be open-minded and peaceful. A life of fishing for rain, cultivating smoke, planting flowers and making wine, what has been washed away is the vulgar powder, dust, mud and dirt, but what comes out is the bookish temperament and the spirit of immortality in the classics and history. When it comes to people, we treat each other inside and outside, and we can settle down and live our lives, and we can "do whatever we want without breaking the rules." Once life reaches this state, the depth and longevity of art emerge.

As a master of calligraphy that shocked the past and the present, Deng Shiru is a model that has won our respect with genuine innovation. His contemporary Bao Shichen listed his calligraphy as a "divine product" in "Yizhou Shuangji" and praised him as "all four styles of calligraphy are the best in the country". In the history of calligraphy, Liu Yong, the "prime minister of dense ink" who prided himself on "I make my own calligraphy", saw Deng Shiru's calligraphy and exclaimed: "I haven't done anything like this in hundreds of years!" Even Kang Youwei, who was very visionary and learned a lot. , Yan (Yan Zhenqing), Liu (Liu Gongquan), Jin Tie, and Tang Stele were demoted. However, Deng Shiru's book not only spoke highly of it, but also regarded it as an epoch-making symbol. To be fair, it is not fair to demote Tang Dynasty to Jin Dynasty, but the evaluation of Deng Shiru is justified. The innovation of seal script and the rise of tablet learning in the Qing Dynasty opened up a new aspect of traditional calligraphy. This unparalleled feat was established quietly in the mountains by Deng Shiru.

Deng's seal script's flexible structure and natural writing style broke the rigid traditional pattern since Li Yangbing. No wonder he was so conceited: "Where can I let Bingsi (Si refers to Li Si)?" Deng Shiru also had many original ideas in calligraphy theory. . The theory of "thinking of nothing but mistaking black" concretely embodies the principle of "nothing can be seen with pen but something is unexpected". "You can move horses in sparse places, but don't let the wind pass in dense places", which clearly explains the artistic theory of contrast between reality and reality. Representative works

Deng Shiru was a giant calligrapher of stele studies in the Qing Dynasty and was good at four-body calligraphy. He first learned seal script from Li Si and Li Yangbing, and later studied "Chan Guo Mountain Stele", "Sangong Mountain Stele", "Tianfa Shen Prophecy Stele", stone drum inscriptions, Yi artifacts, and Han steles. He used the official method to make seal script, breaking through the barriers of jade seal script that had existed for thousands of years, and opened up a new world for seal script in the Qing Dynasty. His seal script has vertical and horizontal strokes and slightly square fonts, which are close to those of Qin and Han Dynasty tiles and Han Dynasty stele foreheads. The official script came out of the Han Dynasty steles. It is compact, strong in appearance, and majestic. It also made the official script of the Qing Dynasty completely new. The regular script is based on the tablets of the Six Dynasties, as well as the physical postures of Ouyang Xun and his son. The writing style is decisive and the characters are tightly knotted, giving it a vigorous and powerful style. Cursive script mainly absorbs the cursive techniques of Jin and Tang Dynasties, and the writing style is slow and elegant. The large-character cursive script has a broad atmosphere and a vast artistic conception. Looking at the four styles of calligraphy, seal script has the greatest achievements, followed by regular script, running script and cursive script. Deng Shiru was also a seal carver and founded the Deng School among the Anhui Schools. He used small seal characters to seal, emphasizing the meaning of the brushwork. His style was vigorous, simple, vigorous and graceful, and his calligraphy and seal cutting complemented each other. Deng Shiru's seal has the characteristic that "a sparse place can be used for horse racing, but a dense place cannot be ventilated".

People at that time spoke highly of Deng Shiru's calligraphy skills, saying that he was "excellent in all four parts and ranked first in the country." His calligraphy was most outstanding in seal script, and the success of seal script lies in Xiaozhuan. His Xiaozhuan script, based on Si and Bing's masters, is slightly longer in structure, but creatively blends the official script writing style into it. He boldly uses long edges and soft brush strokes, and ups and downs, which greatly enriches the brushwork of seal script, especially the seal script in his later years. , the lines are round and thick, powerful and boundless, reaching the state of transformation, creating a model of seal script for the Qing Dynasty, and making an immortal contribution to the development of seal script art. Official script has benefited greatly from long-term immersion in the practice of Han steles. It can write official scripts in seal script, and with the power of Wei steles, its style is naturally unique. The regular script did not start from Tang regular script, but traced its origins and directly adopted the Wei stele. It mostly used square brushes, and the movement of the strokes contained the official meaning. The structure did not seek to be fair by the method of horizontal light and vertical weight, left low and right high, and elegant. The ancient, majestic and simple architecture is incompatible with the current customs of the pavilions, showing the spirit of courage to explore.

Liu Yong and Lu Xixiong: "This has not been done for hundreds of years."

Cao Wenqi: "This is Mr. Deng, a distinguished scholar from the south of the Yangtze River. His four-body calligraphy is the first in the country."

Bao Shichen's "Yizhou Shuangji": the first in divine quality

Zhao Zhiqian: "In the dynasty, Shanren's calligraphy was the first, and Shanren's official script was the first; Shanren's official script was the first; The writing style of seal script comes from the official script, and it is said that it is not as good as Shao Wen. However, since Shao Wen is better, those who are good at Yi cannot express Yi. Poems must be poems, and it is the same for non-poets. "

Sha Menghai's "Calligraphy in the Past Three Hundred Years": "The calligrapher of the Qing Dynasty who was publicly recommended as a distinguished scholar was not Liu Yong, the scholar of Dongge, nor Weng Fanggang, the cabinet scholar, but the cane stick mang "Deng Shiru of Shoes." Inscription works

In the Deng family's big house at the foot of Dalong Mountain in Huaining County, Anhui Province, there is a long couplet with 146 characters of "Dragon Gate" written in regular script, namely:

Canghai sun, Chicheng clouds, Emei snow, Wuxia clouds, Dongting moon, Pengli marriage, Xiaoxiang rain, Wuyi peak, Lushan waterfall, combined with the wonders of the universe, are painted on the wall of my studio;

Shaoling poems, Mojie paintings, Zuo Chuanwen, Ma Qianshi, Xue Tao's notes, Youjun posts, Nanhua Sutra, Xiangru Fu, Qu Zili Sao, collect ancient and modern exquisite arts, and put them in my mountain window.

This couplet, signed "Inscribed on Bishan Bookstore", was written and written by Deng Shiru, a famous calligrapher and seal engraver in the middle of the Qing Dynasty. This couplet is magnificent and unique in conception, just like what Liu Xie, a literary critic of the Southern Dynasties, said about the magic of "seeing thousands of miles" and "thinking for thousands of years".

The scenery in the first couplet is colorful; the text in the second couplet is beautiful. The upper and lower Qi meridians are connected and completed in one go. The scenery is typical, the literature is exquisite, the language is elegant, and the meaning is profound. It is a masterpiece of pairings and a brilliant couplet.

The reason why this couplet is so popular is, in addition to the above, also related to the author's good use of Liejin rhetorical techniques.

Lijin rhetoric is a sentence composed of a noun or noun-centered naming structure. There are no adjectives and predicates in it, but it can describe scenes and emotions; there is no verb predicate, but it can describe emotions.

Living in the world: old heirloom books. ——Inscribed on the Stele Corridor of Hanshan Temple, Suzhou

The cause lasts through the ages; the fragrance is recommended to all seasons. ——Ink mark

The autumn water of Nanhua is on the seat; the spring mountain of Beiyuan is between the screens. ——Self Title

Where thousands of flowers bloom, there are thousands of feet of pines; a flock of birds sings like a crane. ——Self-titled

When you open a book, your mind wanders for thousands of years; when you look at the curtain, your heart is in the mountains. ——Self Title

It is the third month after the realization of a good book; it is the fourth spring when a good friend comes. Self-titled

Walking through rivers and mountains, I shed two lines of tears from the poor people; Facing the wind and facing the moon, I always cherish the heart of an old friend. ——Wan Cao Wenxi

There are several layers of strange stones around, and the moonlight is in the sky, like looking into an ancient stream; there are pines hundreds of feet high on the ground, and the green shade covers the sun, and strangers come every now and then. ——Inscribed on Xiaojinshan Thatched Cottage of Slender West Lake, Yangzhou

There are eight or nine thatched cottages, fishing for rain and plowing smoke, one must believe that being rich is worse than being poor, and being noble is worse than being humble;

There are tens of millions of words in bamboo books, which are filled with words. Flowers make wine, and you will know that you can enjoy yourself in peace and quiet, and be free and clear.

——Talking about feelings

Tolerate others but be insulted, to be careful but to be sick, to drink a little but be sad, to think too little but be dreaming, to plant flowers but be vulgar, to burn incense but be filthy;

*** To replenish labor, stay alone to replenish deficiency, use frugally to replenish poverty, do good deeds to replenish mistakes, calm anger and replenish qi, be silent and replenish troubles.

——Self-inscribed Thatched Cottage

What’s the point of having a seven-foot-long body with no wealth or fame?

What kind of clothes and coffin does this piece of rotten skin need? It would be better to throw it into the wilderness and weeds. Wouldn't it be happy?

——Seal carving by self-repair

"The sound of the river breaks the bank thousands of feet", "I can't create the meaning of the calligraphy", "Reading ancient texts obsessively and hearing strange words every day", "Home is here" "Between Siling Mountains and Waters", "Meetings of Thoughts and Ancients", "Songs and Ink Dances", "The City Grows in a Day", "Lingshi Mountain Grows", "Spring End", "Half Thousand Pavilions" and "Wanbai Mountain People's Seal Carvings Occasionally Exist" 》 (Text and Pictures) Calligraphy

"Poems in the Five Gardens", "Scroll of Seal Script", "Tang of Seal Script", "Four Screens of Official Script", "Seven Character Couplets in Official Script", "Excerpts of Official Script Wen Xin Diao" "Dragon", "Chen Jihe Shu" Poems

"Dengdai"

The Dai ranks are majestic and hold the knot, and the scorpion is humble and scolds. Nothing is limited except the sky, which is not as high as a human being.

Qilu was lost in the clouds and smoke in a blink of an eye, and all the mountains were entrusted with the title of Shircao. Don't be surprised by the traces of wind and dust when respecting the rock. There are only a few cloth robes in the ancient world.

"Manuscript of the Manuscript of the Wanbaishan Man Sending Cranes" Completed

Deng Shiru, a resident of the Wanbaishan Mountain, paused and took the letter as a starting point to tell the story about sending cranes. The owner of this crane has enough time to prove that he is one hundred and thirty years old and has been in the family of Gongqing for four years. According to Wanling Zhang Hanzhai Taishi Tao's "Ancient Crane Poetry", in the Jinling vassal office engraved by Sun Gong, the Prime Minister of southern Yunnan, it is stated that this crane first lived in the Jiang family in Changshu, then in the Shen family in Wuxing, and later in the Xu family in Deqing. Yuan Litang of the Ministry of Agriculture in Jingkou paid a thousand gold to hire him to the Thirty-Six Peaks Mountain Hall. There are only a handful of people who are more than 130 years old. The years before that cannot be obtained and examined. The mountain people visited Yuan Gong's house for many years. Tingji, the son of the Ministry of Agriculture, ordered He to address the mountain people and said: "This is your Lord." He said that the crane was suitable for the mountain people, so he gave it to the mountain people. The mountain people are old and gentle, so it is a good idea to have this as their wife. In the autumn of the first year of Jiaqing, a boat passed Jinling. Sun Zhongcheng was pleased with it and wanted to hire cranes from the mountain people. He also gave two gray cranes to the mountain people as gifts. This puffin is not a crane. Being a slave to a crane, the crane will not accept it. However, he carried my crane back home. The mountain folk's houses were built on the wall with many index fingers, and each inkstone had a living wife in all directions. They were afraid that the crane would be harmed by the savages, so they chose a place and sent the crane to the monk's house in Jixianguan. Although the Zen room is desolate, the trees are lush, the bamboo trees are green, the passes are dangerous, and the mountains and rocks are steep. It is the main road to Tianqu and the dragon vein of Wancheng. The monks want to rely on the power of Buddha to create and prosper it, to support the practice of Taoism and to cultivate Feng Shui. Their ambition is profound and profound. It is less than thirty miles away from the mountain dwellings. It is a common practice every month to carry grain and feed cranes. Although I am waiting for this crane, I am also hiding to wait for the monk.

He called the crane to the monk and blessed him, saying: "You are a fetal bird floating on a hill, hanging on the cloud gate, fluttering its wings and flying in the sky, carrying the ambition of a man in the sky. I am afraid that you are not a poor man. You have a wandering mind, and you are also Listen to your soaring, but you can't be restrained. Now you send it to the monk to cultivate your age. The monk entrusts you with the name, and you have no intention of sending the crane to this place. There are ancient bamboo trees that can provide shade; there are green lanterns of ancient Buddhas that can repent; there are spiritual flags and precious canopies that can be majestic; there are Dharma seats and sutra altars that can be solemn; there are crouching lions and crouching elephants that can protect you; There is a moonlit pine breeze to wander around; there are mountain flowers and wild plants to soothe your steps; there are streams and springs to bathe your feathers in; there are piles of rocks all over the mountain, where you can be sharp; there are moss flowers and embroidery to show off your madness. There are tall and heavy trees, which can be used to build the sky; there are hanging vines, which can be used to line up the buildings; there are the sounds of bells and drums, which can be used to express the ambition of the sea and the sea, and the wind and the wind are as big as the blue clouds; there are the sounds of wind and rain, the shaking of grass and trees. If you have the responsibility of guarding the herdsman, you can lead the people. If you have the sound of mountain birds, you can help the people to get along with each other, and they can live happily in the woods and springs. If you have the sound of carriages and horses, you can admire them. On the dusty road, you are combing your feathers, straightening your head and wandering around; there are crowns and covers coming and going, and wise men and officials are resting and stopping. You can remember their Qianzhan in the wild, driving on the road, the long road is long, and the sun and the evening are getting more and more impressive. It is clear, spacious and elegant, and it is lonely and lonely in the four seasons, whether it is snow, moon, flowers, wind, rain or clouds, you can silently accept my instructions."

He also said: "When the monk comes back, I will accompany you, and when the monk comes out, you will stay with me. The moon is white and the wind is clear. I listen to the sutra and nod my head. Don't just drink and peck, and clean the hair and feathers. The day will be too clear and the clothes will be beautiful. Why don't you ride and travel around?" It's hard to go to Yangzhou without a hundred thousand people. I live not far away, but I'm thirty miles away. If you are pregnant, you will listen to my blessing. "After I said my blessing, the crane looked around in panic. Nai comforted him and said, "Come here, you will be at peace here." He then took refuge in the Buddha. Although he has taken refuge in the Buddha, the crane is still the crane of the old man in the mountain. The monk planned his name, and he said: "This is a hidden object. It cannot be insulted by a few people, but only the Buddha can use it." So he changed his name to Buddha Slave. There is no better place to send a crane, and no better place to enjoy a crane. Crane, monk, and their help are Liye. The people in the mountain had no stone storage, so they used ten gold coins to help the monks build Jihe Pavilion and offer tea to travelers. Yesterday there was a drought in the autumn, but I still spent ten thousand coins to support the monks to build this east pavilion. Now I have built thousands of bamboo poles, and the seats are full of clear shades. Now I heard that the monk came to Baishi Thatched Cottage and wrote that your Excellency Hua Cong lives here, and the crane dances under the steps, and he is celebrated as an official. He thinks that it is a sign of the first grade of the official rank, which is directed towards the future. Without checking the left and right sides, Yuan sent soldiers to restrain him and send him to the office. The monks are shouting on the road, the cranes are in trouble for the soldiers, the carriages are not greeted, but there is the humiliation of being imprisoned, and things are rewarded with blessings, how can one be so troubled despite his body? From then on, the guests and friends competed with each other under the lotus curtain to enjoy the birds that were not hired by the windows, so that the monks in the cold courtyard were withered and their faces were like those of the old man on the mountain who sent the crane. The people in the mountain know that your Majesty's intention is absolutely not what it is, but the people who are close to you are doing this to invite you. Or maybe the plum blossoms are blooming in the east pavilion, for the sake of entertainment, Zhang Qiong sings the flowers at the banquet, and orders the wine glasses to get the drunken guests. Without the white bird of Zhai, Zhai, how can it be enough to enjoy this elegant mood? Take advantage of the excitement to recruit it, and use it with all your enthusiasm, and the crane will return to the mountain people in a short time. Or when you are idle in politics, you may enjoy admiring things, be fond of people when you see things, and admire the ancient people's style of playing harp and crane, so as to encourage their integrity and illuminate the country of Anhui. The mountain people are proud to be the people under their rule. If they had it with their bare hands, could the mountain people live up to the meaning of Yuan Langzhong's gift of the crane? I am also ashamed of this crane. There was also talk from outside that the prefect had taken the title of Shanrenhe. If you are guilty of disrespecting your dignity by wandering in the grass, then the mountain people will turn into cranes, and the cranes will turn into mountain people, without hesitation. Therefore, I have experienced the beginning and end of Chen Guhe's story, sharing the same thoughts with the monks and mountain people, and specifically describing the story in verses, which made me extremely frightened and frightened. The mountain people paused again.

I also wrote something in my own mind after writing: "The longevity of a crane is unknown, and the lifespan of a human being is short, no more than a hundred years. It is a gift from the universe. This crane is sent to the minister, to the people in the mountains, and to the people in the mountains. To the monks and Buddhas, and to the prefects. The prefects, the monks, the people, and the ministers all send it to crane ears. People send it to cranes? Qi, I will eventually return to the universe, what does it matter to me! I have been around for many years, and I have this crane. When I return, I only think that it is for my ears and eyes to play for a moment. After all, I have not interacted with the crane's spirit, and I used the crane to write this book. , love the crane, train the crane, and wish the crane, why should I forget about the crane? And there are cranes.

Crane is here, crane is here, don't you wait for me to travel together in the desert with clear water and green mountains someday? Xi left so quickly? Introduction to Art Appreciation

Deng Shiru: (1743---1805), formerly known as Yan, with the courtesy name Shiru, also known as naughty boy, also known as Wanbaishanren, also known as Wanbai, Gu Huanzi, and Youji Taoist. Fengshui fisherman, Longshan woodcutter, etc. were born in Huaining, Anhui. Some people classify him as the Wan School, and more people respect him as the "Deng School" because of his outstanding contribution in the history of seal cutting.

Deng Shiru's family was poor when he was young, and his social status was low throughout his life. He said: "I never tried to study when I was young. I experienced hardships and hardships, and I experienced everything. When I was thirteen or fourteen years old, I secretly rejoiced in the book. At the age of twenty , my grandfather brought me to Shouzhou, and he was able to teach me how to travel and eat in the rivers and lakes, and not treat others as literate people." Such a "commoner" who did not read much has grown into a great artist. Unwavering faith, tenacious will and hard training. After he was seventeen years old, he began to support himself by engraving books. After turning 30, through the introduction of friends, I successively met friends such as the Mei Miao brothers in Nanjing. I looked through the rare epigraphy and stone books collected by the Mei family. I always copied every famous monument and calligraphy more than a hundred times. To this end, I worked hard from dawn to dusk and worked hard for the future. The art of seal cutting laid a solid foundation for calligraphy. Therefore, people at that time rated his four-body calligraphy as the first in the Qing Dynasty.

Deng Shiru’s era was when the Anhui and Zhejiang schools were dominating the printing world, but he was never satisfied with the achievements of his predecessors, and based on his own strength and calligraphy, he achieved " "Books come out from printing, seals come out from books", which broke the traditional pattern of official seal cutting in Han seal cutting. It was the first to use small seal characters and characters on the forehead of seal cutting, which broadened the scope of seal cutting funding and formed its own strong and graceful style in seal cutting. The style rose majestically in the seal world at that time, and it can be said that it formed a tripod with the Anhui and Zhejiang schools. Deng Shiru's heroic style has always influenced Bao Shichen, Wu Rangzhi, Zhao Zhiqian, Wu Zi, Hu Shu, Xu Sangeng and others in the same period. In the history of the development of seal cutting art, Deng Shiru is an outstanding master. Unfortunately, few of his original stones have survived, such as "Wanbai Mountain People's Seal Engravings Occasionally Completed", "Wanbai Mountain People's Seals", "Deng Shiru's Seals and Preservations", etc. Introduction to the work

"The river flows with sound, and the shore is broken thousands of feet" is a sentence from Su Shi's "Hou Chibi Ode", which is one of Deng Shiru's representative works. The most important thing to avoid in artistic conception is uniformity and dullness. In the theory of calligraphy, he once proposed the aesthetic concept of "the sparse parts of the characters can make the horse move, and the dense parts cannot let the air pass through". This square seal can be said to be a vivid embodiment of this concept. The two characters "flow and break" are written in complex form to increase their density, so as to contrast the sparseness with denseness. The word "jiang" echoes the three characters "an, thousand, and feet". The writing style is open, and the large and wide land echoes the word "broken". In addition, the denseness of "flow, you, and sound" forms a sharp contrast. His The use of the knife is different from that of the Anhui and Zhejiang schools, but the knife is like a pen, smooth and graceful, carving out his strong and graceful style.

"My calligraphy is incomparable". It can be said that the carving method of fine white script is unprecedented. Jia Jiazuo developed the engraving method of round Zhu script in the Song and Yuan Dynasties to this kind of fine white script engraving method. The square and round twists and turns of the Chinese characters are completely randomly matched according to the form of the seal. The lines of this kind of white text best reflect the interest of his calligraphy and the flavor of using a knife as a pen.

"Reading ancient Chinese obscenely, hearing strange words every day", the style is the same as that of the above seal, although the knife skills are the same. The top seal is not as strong as the upper seal, but the composition is carefully planned. The eight characters in the whole seal are divided into three lines. "Ling Shan Shui Jian" is fully printed with seven characters, just like the book. The composition of this seal is exactly the opposite of the previous seal. The middle is dense and the left and right sides are sparse. The dense areas do not make people feel suffocated, and the sparse areas are more than enough. The painting master Huang Binhong was influenced by this. There is also a saying in his painting theory that "the sparseness allows the horse to move, the denseness allows the wind to pass through"

The two seals of "Lingshi Mountain Long" and "Chunya" echo each other in diagonal sparseness and density, and contrast with each other in vermillion and white, all printed with pen. The ink is full and full of roundness and simplicity. In comparison, the white text seal with additional columns in "Chun Ya" has a slight skill in seal cutting. Art is "operating within a square inch, appreciating the finer details, judging the density, and distinguishing the beauty." Therefore, "calligraphy and painting have the same origin, and the reality of calligraphy is deeper than painting, and the metal and stone are deeper than calligraphy." He has subtle artistic cultivation, but it is not enough to speak."

These insightful insights should have profound significance to our understanding of Deng Shiru’s art. Interpretation of calligraphy:

Since the Wei and Jin Dynasties, seal script as a whole has gradually gone into silence, and calligraphers who are good at seal script have become like morning stars. It was not until the Qing Dynasty, with the rise of epigraphy and textual criticism, that the spring of the revival of seal script ushered in. During the Qianjia period, Deng Shiru appeared, completely breaking the deadlock of the sluggish seal script and opening up a new dimension. Deng Shiru changed the seal writing method of the past hundreds of years, making full use of the specialties of the brush to express the meaning of the seal script, making the strokes of the strokes, starting and closing of the writing more varied, and structurally breaking the traditional style of the past. This is a fixed pattern that affects people everywhere and becomes a trend.

Deng Shiru, whose first name was Yan, whose courtesy name was Shiru, and whose nickname was Nhanbo, was from Huaining, Anhui. He lived in commoner clothes all his life and supported himself by writing and engraving seals. He has studied calligraphy and seal cutting intensively throughout his life, and his achievements in seal writing are the highest and he has made groundbreaking contributions. The seal script is based on "Stone Drum Inscriptions", "Taishan Carved Stones", "Yishan Stele", and "Kaimu Stone Que", and integrates the graceful and fluttering meaning of the Han Dynasty stele forehead. The square and round characters are interchangeable, the posture is novel, the writing is deep and majestic, and graceful. His body posture is generous, his pen is flexible and full of changes, and his bones are strong, eliminating the old habits of being rigid, weak, and monotonous. Seal script came in from Li, and Li came out from Seal, forming a style of its own. After the Qing Dynasty, all seal calligraphers were influenced by him. It can be said that the artistic style of seal calligraphy has been rich and colorful for more than 200 years, and everyone has emerged in large numbers. This glorious scene actually started with Deng Shiru.

"Deng Shiru Seal Script", written after the first year of Jiaqing, has a sharp writing style, a bone as strong as cotton wrapped in iron, a calm body, and a silkworm spinning silk, especially the use of official script for seal writing. Meaning, it can be regarded as the representative work of Deng Shiru's ink writing handed down from generation to generation. When studying this post, you should carefully observe and deeply understand the changing characteristics of his brushwork. As far as the rising and closing are concerned, there are both reverse rising and stopping, which are reserved and reserved, and there are also reverse incoming and flat out, which are relaxed and smooth. The strokes of his arc drawings may be made using the lifting and turning method to show roundness, or the sudden and folding method may be used to show the direction and strength. These subtle changes in the use of pens must be done at the last moment, and must not be made overly large during temporary practice. It must be done as Sun Guoting said, "Those who observe are more refined, and those who imitate are more valuable." In terms of seal characters, "Deng Shiru Seal Script Book" strives to pursue a uniform whitening method, thus making each seal character unique. It appears stable and serene, but in the blank space, the legs hang down and the tail is trailing, thus forming a unity of opposites between sparseness and solidity, emptiness and richness. While handling the uniformity and density of white, we must also pay full attention to the parallel, symmetrical, embracing and opposite relationships of lines. In addition, in order to copy Deng Shiru's seal script copybook well, the uneven changes in lines are also an important aspect that cannot be ignored. The uneven arrangement of small seal lines is often the key to creating vividness. Wang Shuyun of the Qing Dynasty said: "The seal script has three essentials: one is round, the other is thin, and the third is jagged. Round means strength, thin means plump, and jagged means neat. Losing one of the three is a slave to writing!" This should be ours! Things to keep in mind when writing Xiaozhuan.