In the long history of our country, countless outstanding calligraphers have emerged. Wang Xizhi, Yan Zhenqing, Liu Gongquan, Dong Qichang and others can be called masters and famous masters, and they are well-known. However, it is striking that abroad, the Qing Dynasty calligrapher Wang Duo became famous. Maybe many people are not familiar with Wang Duo, so how did he rise to prominence overseas?Let's unveil this mysterious history.
As we all know, Wang Xizhi of the Eastern Jin Dynasty was one of the most accomplished calligraphers in the history of our country. His immortal work "Orchid Pavilion Collection Preface" is known as the first line of calligraphy in the world, and has become a model for later generations of calligraphers to learn Xi. However, calligraphers abroad, especially in Tokyo, have a very different evaluation of Wang Xizhi. They believe that although Wang Xizhi's attainments are quite high, after thousands of years of development, Wang Duo in the late Ming and early Qing dynasties was better in inheriting the longevity of a hundred schools, and it can be said that the latter is better than the first king. This view has led to the wonder of why Tokyo calligraphers have such a high regard for Wang Duo
Wang Duo, a calligrapher in the late Ming and early Qing dynasties, is known as the magic pen Wang Duo. Born into an ordinary peasant family in Mengjin, Henan Province, he showed an extraordinary talent for calligraphy despite his humble origins. At the age of 9, he was able to copy Wang Xizhi's calligraphy by force. During the Apocalypse, Wang Duo was admitted to the Jinshi examination, entered the official career, and served as the chief examiner of the imperial examination and the crown prince Zhan Shi, and finally became the secretary of the Nanjing Ministry of Rites.
After the fall of the Ming Dynasty, Wang Duo returned to the Qing Dynasty and became a scholar of the Hongwen Academy. His calligraphy was highly praised by Emperor Shunzhi. Wang Duo's authentic works, such as "Proposed Mountain Garden Post", "Snow Scene Bamboo and Stone Map" and "Langhua Pavilion Post", etc., show his superb attainments in calligraphy and cursive writing, with strong pen power and unique layout, inheriting the style of the Northern Song Dynasty, and is known as the king of the south and the north.
Wang Duo's calligraphy achievements are undeniable, but in China, he is considered to be only second-rate, and he is vulnerable compared to famous artists in history. However, it is strange that abroad, especially in Southeast Asian countries, Wang Duo's calligraphy is regarded as a model for copying. The introduction of "Proposed Mountain Garden Post" caused a sensation in Tokyo, and even the Ming and Qing dynasties were specially established to carry out in-depth research on Wang Duo's calligraphy.
After the research of experts, they found that Wang Xizhi and Wang Duo each had outstanding calligraphy achievements. However, the evaluation of Wang Duo in China is average, which is related to his life background. Wang Duo was an official of the Ming Dynasty who submitted to the Qing Dynasty after the fall of the Ming Dynasty. This act is regarded as the act of two ministers in China, which violates the Confucian principle of one minister and two masters. In the history of our country, people who have one minister and two masters usually do not end well, such as Wu Sangui, Shi Jingjiao, Zhang Hongfan and Zhang Yuan, etc., who are labeled as traitors and thieves. Although Wang Duo did not participate in the fall of the Ming Dynasty, his status as a submission to the Qing Dynasty was difficult for future generations to accept, making it impossible for him to rank among the top in the domestic calligraphy world.
However, foreign views are different. Perhaps it is the cognitive difference caused by cultural differences, and foreign countries do not think it is shameful for one minister and two masters. Therefore, in their opinion, Wang Duo's calligraphy has no stain at all, and can be objectively compared, analyzed, and studied with other calligraphers. Perhaps, people abroad have a limited understanding of Wang Duo's life, similar to our perception of historical figures in their country, so they can evaluate Wang Duo from a more objective perspective.
In general, calligraphy is an esoteric science, and there is no absolute standard to measure who is better. Everyone has a unique point of view, and every calligrapher has something unique about it. Wang Xizhi and Wang Duo are both great calligraphers in the history of our country, and they are worthy of our Xi.
Reference: "Wang Duo's Long Chronicle of the Yearbook" Author: Xue Longchun, Publisher: Zhonghua Book Company.
The position of the Qing Dynasty calligrapher Wang Duo in the history of Chinese calligraphy has always been controversial, especially the difference in evaluation at home and abroad has caused extensive discussion. This article reveals Wang Duo's great influence in foreign calligraphy circles with vivid brushstrokes, and at the same time highlights the reasons behind the domestic evaluation.
First of all, the article mentions the different views of calligraphers in the Tokyo area on Wang Xizhi and Wang Duo. This contrast arouses people's curiosity as to why Wang Duo's calligraphy can be so highly regarded abroad, especially in Southeast Asian countriesThis made me think deeply that cultural and historical background differences may be one of the main reasons for differences in evaluations.
Wang Duo's life and deeds are vividly described in the text, especially his experience of returning to the Qing Dynasty after the fall of the Ming Dynasty. This historical background has been interpreted in China as one minister and two masters, which has led to Wang Duo's relatively low status in the domestic calligraphy world. Through the review of the history of the Ming and Qing dynasties, this article reveals the fact that one minister and two masters are usually deprecated in the history of our country, and emphasizes the adverse impact of this on Wang Duo's evaluation.
However, the article also expresses the relatively tolerant foreign concept of one minister and two masters. This cultural difference has led to a more objective and fair evaluation of Wang Duo abroad. The recognition of Wang Duo abroad may not be entirely due to knowledge of his life, but more to his calligraphy itself, which gives us a direction to think about, that is, when evaluating a person, we should look at their life background separately from their professional achievements.
As for the overall evaluation of the article, I think it has succeeded in highlighting Wang Duo's unique position in foreign calligraphy circles through vivid descriptions and objective analysis. At the same time, the article provokes readers to think about the impact of cultural differences on evaluation criteria. However, the article also leaves some unin-depth questions, such as the Ming and Qing Dynasty transfers mentioned in the article, and readers may want to know more about the establishment and activities of this organization.
To sum up, this review leads readers to an in-depth understanding of Wang Duo's calligraphy process, analyzes the reasons for his evaluation at home and abroad, and stimulates thinking about the evaluation of individuals based on cultural differences and historical factors. Such an article is not only a commentary on historical figures, but also a reflection on cultural collision and multiple evaluation criteria, which has far-reaching enlightenment significance.
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