"I really didn't expect Liu Meizi to have a good talent in incense, and this time it can be regarded as a blockbuster!"

Wu Tianyuan took a sip of tea beautifully, looked at Liu Huasheng and said, "This time, the whole Osaka knows that in addition to you, the tea master, your Liu family has another little incense master, haha!" ”

"Don't praise this little girl anymore, otherwise she will be even more proud, at her current level, it is not enough to see!"

"Dad, hmph, I won't tell you, I made an appointment with a friend and left!"

The two of them watched Liu Meizi leave, and Wu Tianyuan said: "This step is also the beginning, I have begun to monopolize Hainan agarwood, and when the finished product officially enters the Japanese market through the Liu family, Tianyuantang has one more product." Pen & Fun & Pavilion www.biquge.info"

"I don't have to worry about you doing things, come, it's rare to have fate today, I just received a good calligraphy, let's take a look!"

Liu Huasheng was very interested, pulled Wu Tianyuan to the study, carefully took out a piece of calligraphy, and studied it together.

"This is Kukai's Buddha?"

Wu Tianyuan was a little surprised and said, this is really rare, and he is also interested in studying it.

"Yes, ancient Japanese calligraphy has a long history, but the most precious thing is a few people, Heian Sanbi, Emperor Saga, Monk Kukai, and Tachibana Yise. Japan's three traces, Ono Michifu, Fujiwara Saori, and Fujiwara Yukinari, these six people are a sect of masters, and they are sought after by people all over the country. ”

Liu Huasheng has been in Japan for so many years, and in addition to the tea ceremony, he likes calligraphy, and he has a deep accomplishment, especially Japanese calligraphy, and he is very studied.

Legend has it that during the Tianping period of Japan, Empress Guangming had copied Wang Xizhi's "Treatise on Le Yi", and the elegant style of writing of the sage Wang Xizhi won the love of many Japanese and was respected by the world. The calligraphy works of Wang Xizhi in the Shosoin Temple in Japan are the dowry of Mitsuko's marriage to Emperor Shomu. In Japan's Heian period, kana writing was established, ushering in the heyday of calligraphy. For the children of royal families and nobles, calligraphy is an indispensable self-cultivation class. ”

"Yang Shoujing, a Chinese at the beginning of the Meiji era, came to Japan. He introduced the Chinese calligraphy style of the Six Dynasties to Japan, like a spring breeze blowing into the Japanese calligraphy world. Japanese calligraphy began to evolve from respecting individuality and maintaining the inheritance of genres to emphasizing free expression. Different from the art of painting, the art of calligraphy is simply an abstract shape with points and lines. The thoughts and feelings of the writer are concretely reflected through the elastic brush. ”

"Japanese kana was originally just a symbol for the pronunciation of kanji, and its history dates back all the way to the fifth century AD. By the Heian period, it was basically finalized. One of the most advanced usages is Manyokana, which has gone through three stages: Kai, Xing, and Cao, and has gotten rid of the form of kanji and become hiragana. ”

Liu Huasheng pointed to the monk's book and introduced: "The calligraphy of hiragana is called grass kana. At that time, Japanese men mainly used kanji. Kana is just a text used by women. Therefore, hiragana is also called "Nüshu" and "Nüji". In short, Japanese kana is a combination of the trinity of Manyo Kana, Hiragana, and Katakana. ”

The Kai and Xing of Manyo Kana are called "male books", and then changed to real names. "Grass" is the cursive script of Manyokana, which is used by both men and women. The "Nüshu", a popular female script in Japanese society during the Heian period, also evolved from the Manyokana cursive script. ”

Wu Tianyuan didn't know much about Japanese calligraphy, and he really didn't have any authentic handwritings in his hands, and he rarely saw the works of famous people.

For example, this Yongzi Eight Methods, a simple "Yong" character can include the eight basic writing methods of calligraphy, these eight basic writing methods are side (point), Le (horizontal), Nu (vertical), Zhai (vertical fold hook), Ce (short horizontal), Sweep (horizontal folding), pecking (short apostrophe), Ji (捺). ”

"The side metaphor needs to be tilted with the pen." "Le" means to close the pen at the right time, just like Le Ma. "Nu" means strong and straight, showing a full bow. "Zhai" means that the ground is strong, and the shape is like jumping. "Strategy" means that the pen is like the wind, and the pen is like whipping a horse. "Plunder" means to be chic and free, just like a woman combing her hair. "Peck" means like a bird pecking wood, and the pen turns sharply to the left. "Ji" means that the pen is successfully closed, and the pen is slowly and forcefully drawn to the right. ”

"Three strokes in the history of Japanese calligraphy are revered as calligraphy saints, and the three brushstrokes refer to Kukai, Emperor Saga, and Tachibana Yisei, the most outstanding of which is the first to recommend Kukai Monk. Kukai adopts Wang Xizhi's style, Yan Zhenqing's brushwork, and his own originality to form a unique calligraphy brushwork, which is regarded as the ancestor of the wooded road. ”

Kukai's representative works include "Wind Hyacinth" and "Empowerment". Emperor Saga's regular script is Ouyang Xun style. The line script and cursive script are in the Kukai style. His representative works include "The Ring of Light". The authentic work of Tachibana has not survived to this day, and the original text of Prince Itunai is just a copy. ”

"The famous Japanese calligraphers Ono Michifu, Fujiwara Saori, and Fujiwara Yukinari are enshrined as the three traces, and their brushwork is called wild traces, sagoji, and power traces respectively. The authentic works of Ono Michifu are typical of Japanese calligraphy, and are represented by the "Folding Screen Soil Style" and "Autumn Catalpa Post". ”

"Fujiwara Saori's pen style is free and unrestrained, and his personality is very strong, and his representative work is "Poetry on Paper". Fujiwara Yukinari inherited the style of Ono Michifeng, and is the master of Japanese calligraphy, the calligraphy is gentle and capable, and his representative works include "White Lotte Poems" and "News". Xingcheng is also the ancestor of the calligraphy "Zun Temple School" and has always been respected by people. ”

"When the Japanese practice calligraphy, they use a single post with Wang Xizhi's Lanting Preface and Wang Xianzhi's "Luo Shen Thirteen Lines" as the head of the regular script of the Tang Dynasty. The collection of posts includes the ancient and modern famous "Kaiyuan Post", "Chunhua Pavilion Post", Wen Zhengming's collection of "Stopping Cloud Pavilion Post", Dong Qichang's collection of "Xihongtang Map", Wu Yongqing's collection of "Yu Qingzhai Post" and "Sanxi Tang Post". ”

Wu Tianyuan had an idea and asked: "That is to say, the Japanese also like pen, ink, paper, inkstone, and the four treasures of the study?" ”

"Haha, you finally understand my intentions?"

Liu Huasheng said with a smile: "Pen, ink, inkstone, and paper can be called the "four treasures of the study", which is a must for everyone who likes calligraphy. Meng Tian first invented the pen in the Qin Dynasty, and paper in the Han Dynasty. In the eighth century, pens from the Tang Dynasty were introduced to Japan, and the 17 complete finchhead pens collected in the Shosoin Temple in Japan are the oldest brushes in Japan. ”

"There are many types of brushes, in terms of metaphysics, there are long fronts, middle edges, short edges, finch heads, chicken feet, willow leaves, sheep, raccoons, rabbits, deer, cats, horses, and weasels. There are brushes made with one type of brush, and there are brushes made with more than two types of brush. ”

"It is necessary to choose the appropriate brush according to the written text and the situation of the paper, and the Chinese calligrapher Wang Xizhi pays attention to "weak paper and strong pen, strong paper and weak pen". Japan's Zunyuan's "Entering the Wood Copy" has the saying that "paper wool, only paper deer hair, sandalwood paper winter hair, Sugihara summer hair, Ayayi summer hair, cloth wood pen". ”

Wu Tianyuan finally understood Liu Huasheng's intention, which was to remind himself that calligraphy is also a major category in Japan, broad and profound, not to mention anything else, the four items of light pen, ink, paper and inkstone have unlimited potential! (To be continued.) )