[Don't click, this release is an anti-pirated version. The main text is replaced before 8 am. Please refresh if it is not displayed]

"Six and a half" calligraphy is a bantering title for Zheng Banqiao to his original calligraphy. There is a "Eight-cent-six and a half" in official script with many strokes. The so-called "Six and a half" meaning is generally written in official script, but it is mixed with other styles such as regular script, running script, seal script, and cursive script. The "Singing Script Cao Cao's Poem" (like, now in Yangzhou Museum) can be regarded as a representative work of "Six and a half" style. This piece describes Cao Cao's poem "Viewing the Sea" with a large format, with an average of more than 10 square centimeters per room. The font has a strong clerical meaning, both seal script and regular script; the shape is flat and long, and the house is mainly square and straight, and the house is slightly uneven. It is clumsy and simplistic, and it is similar to the majestic and broad style of Cao's poem. Zheng Banqiao once praised his calligraphy in the poem "Present to Pan Tonggang": "My Cao's pen array is as beautiful as the clouds, sweeping the air and covering the sky. One line and two running script numbers are, and the south is jiu and the north is a star."

The layout of Zheng Banqiao's calligraphy works is also very distinctive. He can intersperse the size, length, square, round, fat, thin, and sparse, like "stones laying on the street", with rules in it vertically. It seems that essays are sprinkled, but the overall view produces a jumping and agile rhythm. For example, the banner of "On Calligraphy of Running Stories" written in the 27th year of Qianlong was seventy years old, and it was a masterpiece in his later years. The general meaning is that Su Dongpo likes to use Qifeng pen of Zhuge, Xuancheng, and writes very well. Later, he switches to other pens, but his palms are not in line with each other. Banqiao himself likes to use the sheep brush of Deng's hair brush in Taizhou, and it is written in a gentle and fluctuating way, all of which are satisfactory. Therefore,

The Deng family sheep hair in Taizhou was compared to Zhuge Qifeng in Xuancheng, and finally said: "How dare I imitate Dongpo? When writing with the pen, I love fat but not thin, which is also the meaning of slope." The whole work has large and small characters, with thick and thin strokes, and the posture is slanted and slanted. Dots and strokes are raised and pressed, making the turn like joy walking in the ears, birds fly in the sky, and fish swim in the water, showing bone strength and spirit in a random rhythm of mood: He Shaoji, a Qing Dynasty man, said that his words "are the meaning of orchids and bamboos in between, which is particularly interesting". From the composition, structure and strokes of this crystal, it is not possible to see his orchids and bamboos with "a strange and graceful ancient shape" orchids and bamboos. [8]

1. Thin and powerful bamboo painting: Zheng Banqiao painted bamboo, "It is similar to Pogong, and it is not chaotic, it is not sparse, it is completely used to be used in the times, and it is extremely beautiful." "Biography of the Scholars of the Qing Dynasty" says that two-thirds of his life have been writing about the spirit of bamboo. He once wrote a poem: "For forty years, I have painted bamboo branches, and I have thoughts at night, and I have been redundant and thin, and the painting is mature when I am old." Later, he said: "I have no masters in painting bamboo, but I have learned from the paper window, pink wall, sunlight, moon shadow, and ears." He is familiar with the

Through the practice of observation and artistic creation, theories of "bamboo in the eyes", "bamboo in the heart", and "bamboo in the hands" are extracted. "bamboo in the eyes" is a real scene of nature, an observation of nature and an experience of painting; "bamboo in the heart" is the conception in artistic creation; "bamboo in the hands" is the realization of artistic creation. He organically integrates subjectivity and objective, phenomenon and imagination, reality and art, creating a state of learning from nature and being higher than nature.

Natural bamboo exists objectively. When the painter sees that the bamboo in his eyes is different from the bamboo in his eyes, he will then process it and subjectively process it to form the bamboo in his heart. This is what is said to be the purpose of the pen first, and when it falls on the paper, it will be transformed into the bamboo in his hands. "Bamboo in his hands" refers to a "second nature" created by the painter. The bamboo in his heart and the bamboo in his hands are both sublimations of the bamboo in his eyes. In summary, it is the objective image seen by the painter, which is the process of artistic creation.

When Zheng Banqiao was appointed as the magistrate of Weixian County, Shandong, he once wrote a painting "The painting of bamboo in Weixian Bureau, presented by Nian Bo Bao Dazhong Chengkuo". The bamboo in the painting is no longer the "reappearance" of natural bamboo. The title of this poem is no longer the poem that is sentimental. Through paintings and poems, people think of Banqiao's character. As the magistrate, he recalled the sound of the people from the whistle and whistle of the bamboo in the yamen to the suffering of the people, which shows that he contains the people in his heart and the emotional link is tied to the people. At this time, the bamboo leaves in the painting have expanded image, and Zheng Banqiao opened a warehouse to provide relief loans and rescued disaster victims have appeared one by one. The "stable moment" has become an infinitely continuous story in the audience's mind.

Like a very infectious novel, the film is gripping and thought-provoking. With just a few strokes of bamboo leaves and a few concise poems, people feel the profound thoughts and deep feelings contained in the work. There are a few more paintings written by Zheng Banqiao after being demoted to Weixian, with three donkeys and one cart of books, and his sleeves left with a clean breeze. One of the bamboo pictures says: "The black gauze is thrown away and he will not be an official, but the sleeves are cold. I write a thin bamboo, and the bamboo fishing rod on the autumn wind on the river." He uses bamboo to express his peaceful mentality of abandoning his official position for the people, being indifferent to fame and fortune, and enjoying life. Secondly, the "Bamboo and Stone Picture" has three or two thin bamboos, standing from the cracks of the rock, and firm

Without pulling out, the wind will not fall, Zheng Banqiao used bamboo to express his free and easy thoughts, expressed his character of bravely facing reality and never succumb to setbacks, and the bamboo was personified. At this time, "poetry is an invisible painting, and painting is a tangible poem". Similar to "Ink Bamboo Picture" and "Bamboo Picture". These ink bamboo pictures all used bamboo to express his deposed officialdom and became more free and easy. Most of the bamboos and poems drawn by Zheng Banqiao used bamboo to express his love and love, and expressed his aspirations, expressing the sentiment of "lying in the yamen and listening to the whistle and whispering bamboos, suspected to be the sound of suffering among the people", showing the strength of "standing the roots in the chaos of rocks, letting the east, west, south and north winds", and expressing "writing a thin bamboo, black veil thrown

"Go away but not be an official" and the integrity and spirit of bamboo, such as the noble character, integrity, integrity, elegance and heroism, are vividly expressed by him. This is exactly what Zheng Banqiao's works are different from traditional flower and bird paintings, and are different from their predecessors. Most traditional orchids and bamboos are expressed as appreciative and entertaining themes. The picture mainly pursues the truth and beauty of natural images, the high and low painting skills, and the skillful use of brush and ink. When Zheng Banqiao's writings, in addition to achieving these skills, the inscriptions also give the subject new ideological content and profound artistic conception, so that flower and bird paintings can also produce ideological and lyrical nature, giving people a deep feeling. [9]
Chapter completed!