The ancestor Zhang Dan was a martial artist in the sixth year of Chongzhen (1633). Shi Kefa was guarding Huaiyang, and Zhang Dan was appointed as the city guard of Guide House (Shangqiu) to join the army. During the reign of Emperor Kangxi in the Qing Dynasty, Zhang Dan was the main general, and the official was the deputy general of the army. 1654, Zhang Dan returned to the field and donated 26,000 taels of silver to build the Jingshan Bridge in Xuzhou. Zhang Zhupo, nephew of Zhang Dan, is a novel critic who comments on Jin Ping Mei. Zhang Shi is passed down from generation to generation, and Sven is in the same strain.
He inherited his ancestor Zhang Da and his father Zhang Puyuan. He was a general judge and lived in Henan for 30 years. Ren Guangshan is good at ci chapters, especially calligraphy, and he can't let go. Boying was taught by the imperial court when he was young, and poetry and calligraphy had emerged when he was weak. Boying is about the same age as his uncle Zhang Congren. When I was young, I studied in Xiaoxian's private school, studied under Mr. Xu Kuinan, and became old friends with my son Xu Shuzheng. Zhang Yongchuan, a scholar, studied calligraphy and painting under his great-uncle Professor Chen Xunqi, and later under Xu Nankui, Gui Zhonghang and Feng Xu.
1887, Feng Xu of Jintan (Qing Xubing exploring flowers, edited by the Hanlin Academy) was hired as the dean of Xuzhou Yunlong Academy by Gui Luzhen, the magistrate of Xuzhou. Boying 17 years old, so he became a disciple of Feng Xu, benefited a lot, and was praised as a rising star.
1902, the Qing court made up the exam "Geng Angel Ugly Cohen". Zhang Boying and Zhang Yunsheng went to Jinling to take the exam, and an uncle also took the same subject, which is a much-told story. That year, Zhang's uncle opened a library to serve his family. The governor of Guangxi Bank of China called Boying to a fake library in Pengcheng (Xuzhou) and often read under a tree.
19 1 1 year, Zhang Boying was established in Nanjing Xiaguan Railway Bureau and lived with Xu Shuzheng. Boying went south to Guangzhou, returned to Nanjing, ran a museum for several years and then went north.
19 14 years, Duan was the secretary of the army, and Xu Shuzheng was the second secretary of the war department.
1924 after the second direct service war, Duan was temporarily in power as the deputy secretary-general of Beiyang government.
1926 after the "March 18th" tragedy, Zhang Boying witnessed the corruption and darkness of officialdom, resolutely retired, and never set foot in politics again. And began a career in painting and calligraphy. Seeking food and clothing by artistic labor. 1949, died of poverty in "Xiaolai Poultry House" in Beijing.
Zhang Boying settled in Beiguanfang, Xiejie, Dai Yan, Shenwumen, Beijing. His research number was "Xiaolai Poultry House" Xing Dong, a famous calligrapher in Ming Dynasty, who was good at recognizing posts and wrote the series "Post to torii" 10. Boying won Wang Xizhi's Seventeen Posts, which contained the words "coming birds" and admired Xing Dong, so he was called Xiao Lai torii.
After the Japanese occupation of Peiping, Zhang Boying could not live in seclusion and maintain national integrity. The Japanese bought seventeen pillars for more than 654.38 million silver dollars, but Zhang Boying regarded them as dirt and resolutely refused. In his later years, Zhang Boying was poor and sick, and lived a poor life. He is still addicted to painting and calligraphy, and he is virtuous. Zhang Boying has close contacts with famous domestic artists such as Kang Youwei, Liang Qichao, Yu Youren, Zhang Xueliang, Lin Qinnan, Qi Baishi and Rong Geng. , and is famous in Beijing and Tianjin for being good at evaluating epigraphy calligraphy.
Xiao Yishan's General History of Qing Dynasty was written by Sun Yat-sen, Cai Yuanpei and Zhang Boying. Zhang Boying is the most successful running script, and he is also good at seal script. Regular script structure is tight but not rigid, and the font is neat and dignified, which is both Fiona Fang and broad, bold and compact. The running script is simple and elegant, and Gu Zhuo is natural. Zhang Boying's pen is full of Qi Li, and his perfect stroke points to the place where he goes, which is a good way to make way for each other. Solid brushwork, full of gas in the text, dignified and implicit, not muddy the past and not flattering the present, full of innovative spirit. With a pen, you can let your feelings flow freely and aim high. Zhang Boying is very good at writing epitaphs. Hundreds of words don't need to be marked in block letters, they are done at the same time from beginning to end, and the branches are just right in layout and scope.
Zhang Boying is good at poetry and prose, and his style is fresh and elegant. His poem has seven words, and its content is quite extensive. In his later years, he missed his hometown very much, and there was homesickness in his poems. Representative works include five-character rhyme "Yun Long Shan Yun on Nine Days in Han Yun", seven-character rhyme "Talking with Han Yunshan Tower" and "Mid-Autumn Festival", with sincere feelings.
Zhang Boying's deep attachment to his hometown is not only reflected in his poems, but also in the collection, research and publication of local literature. Yan Xingshu's banners in Xuzhou Museum are treasures collected and donated by later generations.
Boying pays attention to rural literature and collects it most frequently. The most praised is the publication of Xuzhou's sequel poems. As early as the late Qing Dynasty, the Governor of Xuzhou, Guangxi Bank of China, published Xuzhou Poetry. It is a pity that the book was written in a hurry. Zhang Boying began to compile in the late spring of 1929 and published in the late summer of 1935. After working hard for five years, I got sick and couldn't afford to lie on my sickbed.
Zhang Boying is not only a calligrapher, but also a learned scholar. He is good at poetry, which is fresh and elegant and profound in knowledge. The voluminous Annals of Heilongjiang was edited by Boying. 1929, Wan Fulin, the governor of Heilongjiang Province, was hired as the director of compiling local chronicles, and invited Zhang Congren, Xu Dongqiao, Yang and other Tongshan villagers to join hands with Heilongjiang people. The compilation of Vietnam's provincial chronicles in the past three years was unknown from ancient times to the late Qing Dynasty. The book has 62 volumes, about 6.5438+0.4 million words.
Zhang Boying loved calligraphy all his life. He started from Yan Ti in his early years, then studied Wei Bei, and became a successful family. Since the Ming and Qing Dynasties, there have been many talented people in Xuzhou calligraphy field, forming Pengcheng Calligraphy School. Pengcheng School of Calligraphy has always regarded Beibei as the Sect, and it has become a fashion in Gu Zhuo. Zhang Boying inherited the tradition of Pengcheng Calligraphy School and was rooted in the soul of Han Dynasty. His brushwork is dignified, the regular script structure is tight but not stiff, the font is regular and free and easy, and his pen is both Fiona Fang and broad, compact and tight. Running script is simple and elegant, Gu Zhuo is natural, and it has the effect of robbing people. Cursive script can also see its strength and character. Deep technology comes from tradition and is original. Therefore, he became the leader of contemporary Pengcheng calligraphy school. Later, influenced by epigraphy schools such as Kang Youwei and Bao, he was proficient in the epitaphs of northern tablets such as Zhang Xuan, and his character was naturally extraordinary. "Brush array once surprised Hai Huai."
He is also good at evaluating stone tablets, and has written seven volumes of Summary of Fattie, imitating the style of Summary of Siku. Among them, 5 12 kinds of inscriptions from Song Dynasty to Qing Dynasty are listed, and the advantages and disadvantages of each calligraphy school are analyzed and discussed in detail, which is an authoritative masterpiece in the academic field of calligraphy inscriptions in China. He said: "I have no other skills in my life, but I learned it from home, and there is nothing to lose by distinguishing the authenticity of books and posts." Geng Jie paid attention to honesty, made a lot of contributions to promoting the traditional culture of the motherland, and was respected by people at that time.
For a time, from the hinterland to the capital, Boying's calligraphy stood out, attracted much attention and was praised by the world. At the end of the Qing Dynasty and the beginning of the Republic of China, Zhao Shengbo was called the North and the South, and Fu Zengxiang, Zheng were called the four great calligraphers. Up to now, "Zhao Yi Cotton Department Store" in Dashilan, Qianmen, Beijing, "Guanfuzhai" in Liulichang West Street and "Moyuan Pavilion" in East Street have all been inscribed by Boying, and are still hanging in front of the door.
Mr. Wang has been honest and disciplined all his life. He disdained to collude with feudal warlords and abandoned his official position to sell literature for a living. After the fall of Peiping, he could not live in seclusion. And wrote to uncle Zhang Yunsheng, then the pseudo-mayor of Xuzhou, many times, asking him not to make a fake. Mr. Wang is closely related to Kang Youwei, Liang Qichao, Luo Zhenyu and Zheng, but he advocates republicanism and opposes restoration. In his later years, he had reformist ideals and could not stretch. In addition, he has a deep personal relationship with Mr. Yu Youren, General Zhang Xueliang and Qi Baishi. In his spare time, Zhang Boying likes studying very much, and many people in the painting and calligraphy circles have studied with him.
After Zhang Boying's death, Qi Baishi once had a cloud of praise: "The writing is as wonderful as a god, and there are reasons in previous lives. Mr. Kombe has gone, who will come again? " It shows that his calligraphy attainments are profound. It influenced today, and I learned a lot later. When I wrote an article about memories, I wrote: "Mr. Wang has been dead for more than 50 years." I recall the teachings, especially I don't understand them. This is shameful. I don't ask for advice. This can be deeply cherished! " . It can be seen that many people have acquired their true essence and summarized, synthesized and sublimated their characteristics. Established "Pengcheng Book School".
Zhang Boying s Achievements in Calligraphy Art;
In the early years of the Qing Dynasty, under the advocacy and leadership of Gu He and Huang Zongxi, the wind of classical Chinese classics gradually rose, and by the time of Qianlong and Jiaqing, it had become a grand view, and the study of inscriptions also flourished. In the early Qing Dynasty, the calligraphy of Dong Xuanzai and Zhao Ziang was particularly popular with Emperor Kang Gan, and the imperial examination was not a "cabinet style", so the calligraphy style became weaker and weaker. Since Song Chunhua, more than 800 years of calligraphy began to decline. Ruan Yuan initiated the study of steles with the theory of North-South Calligraphy School and the theory of North Monument and South Postage. After Ruan Yuan, Bao wrote The Double Collection of Art and Boat, which formed a complete program of epigraphy in Qing Dynasty and pointed out the direction for the development of epigraphy. In the Guangxu period of Qing Dynasty, Kang Youwei put forward a more complete and radical theory of stele study in Two Episodes of Zhou Guangyi. Coupled with the stimulation of a large number of inscriptions unearthed in the Northern Wei Dynasty after Jiaqing, a mighty torrent of epigraphy was formed. Since then, calligraphy has become the world of epigraphy, and the whole Republic of China has been shrouded in the fog of epigraphy, and there are no outstanding epigraphy calligraphers. As an important calligrapher in the Republic of China, Zhang Boying was naturally influenced by the wind of inscriptions in the north, but he was not completely confined to the form of inscriptions, but chose the road of combining inscriptions. Zhang Boying (187 1 year-1949), a native of Tongshan, Jiangsu Province, is known as "Shaoyuan" and "Xiaopu", and is also known as "Yunlong Mountain People" and "Old People in East Asia". During the Guangxu period of Qing Dynasty, Ding You paid tribute to students and Ren Yin tried to raise people in Tianxiang. After Xinhai, he worked in the Warfare Department of Beiyang Government and the Secretariat Office of the State Council successively. He stayed in Beijing after leaving his job and made a living by writing and selling articles. Mr. Zeng edited Records of Heilongjiang, edited Zhou Xu's Continued Poems, and wrote some calligraphy works such as Fa Tie's Minutes and Reading Iron Miscellaneous Poems. When it comes to Zhang Boying's calligraphy, I think it is only superficial that it is now included in the Pure Monument School. Zhang Boying is proficient in postal research. In his early years, he studied books from Yan Zhenqing in the Tang Dynasty, and from then on he presented his father and son to the Song, Yuan, Ming and Qing Dynasties. He read a lot of books, mastered them all, and wrote "North Monument", which integrated the inscriptions. Objectively speaking, Zhang Boying used the method of writing steles with posts and pens to integrate the meaning of steles into his works. When he was writing the North Monument, he abandoned Wei Bei's rigid skeleton, chewed and digested the form of the North Monument, extracted the real essence from it, and took this essence as a starting point to build his own situational style building. It can be said that Zhang Boying's "stele face" is the result of the internal extraction and surface morphological transformation of the tradition of stele study in Qing Dynasty. This is similar to Wu Changshuo, a calligrapher of stele system with seal script as the material, and obviously superior to Zhang Yuzhao and Li Ruiqing's calligraphy of north stele. Zhang Boying's genius lies in that he didn't deliberately paint the broken shape of the North Monument with a brush, that is to say, he didn't carve a boat for the sword, but copied the gourd. Instead, he organically rubbed the primitive and vigorous spirit of the North Monument into his works, which was particularly obvious in Zhang Boying's cursive works in his later years: sharp but not steep, thick and not sluggish, which fully reflected Zhang Boying's unique understanding and strong grasp of the flesh-and-blood contrast of the calligraphy lines of the North Monument. The successful shaping of Zhang Boying's calligraphic style on steles shows once again that we should not be confined to the narrow aesthetic stereotype of "Fang Bi" when we inherit the calligraphy on steles in Qing Dynasty. Only by deducing Wei Bei's dynamic brushwork, can we get closer to the traditional essence of China's calligraphy. When we sort out the calligraphers in Qing Dynasty, we will find that they all have profound knowledge of epigraphy. They use the pen of epigraphy to transform the shape of epigraphy with an open attitude, thus opening up a new world of their own epigraphy calligraphy. He, Zhao, Wu Changshuo, Shen and Kang Youwei are all like this.
The reason why the study of steles was all the rage and unified the whole country in the late Qing Dynasty has an extremely profound historical background. However, the prosperity of stele study does not mean that the once declining post-school has disappeared. As a system of China's calligraphy art, Iron Blood is an eternal existence, and will not lose its value because of the decline of a certain era. Similarly, after a hundred years of elimination, the study of steles has also formed its own tradition. Because users have different positions on the tablet system, this will inevitably lead to the contrast between man-made and nature. Zhang Boying undoubtedly belongs to the latter.
The success of Zhang Boying Epigraphy, which is characterized by inscriptions and calligraphy, once again shows that whether a person's eyes are closed or open will be the key to success. If you only use a brush to describe the knife marks in stone carvings and limit yourself to the north of the original square strokes, it is difficult to achieve much. The lessons of the last calligrapher in the late Qing Dynasty also proved this point from the opposite side. "Taking a tablet as a post" may be a shortcut for calligraphers of the tablet school to go south.