Calligraphy Scroll by Qing Dynasty Master Artist Zheng Xie (Banqiao) (1693-1766)
清代大書畫家鄭燮(板橋) (1693一1766） 書法橫披
Zheng Xie (1693-1766), zi Kerou, hao Banqiao, was a native of xinghua, Jiangsu. He attained his jinshi degree in 1736 and had served as magistrate of the Fan and Wel districts in Shandong. However, he was deprived of his official post for having offended the local gentry in dealing the fund-raising affairs. Zheng in his late years settled in Yangzhou where he earned his living by selling paintings. Re was one of the "Eight Eccentrics of the Yangzhou School"
Zheng was competent in poetry and writing. He excelled in painting orchids and bamboo with forceful brushstrokes in a sparse and straightforward manner. In the realm of calligraphy, he was most influeneed by Huang Tingjian. He had also studied and copied assiduously the calligraphic styles extant on the Han and Wei stone stelae and assimilated the clerical script into the running. This distinctive style of calligraphy, which also incorporates features of the seal and cursive scripts, was known as the "liufenban situ".
鄭燮(1693一1766）
清代書畫家、文學家，字克柔，號板橋，世籍蘇州，明洪武間，遷居興化，遂為江蘇興化人。少孤貧，天資奇縱，慷慨嘯傲，超越流輩。應科舉聖祖康熙秀才、世宗雍正舉人、高宗乾隆元年(1736）進士，官山東濰縣令，因助農民勝訟及辦理賑濟，得罪豪紳，遭罷官，作官前后均居揚州賣畫，為揚州八怪之一，工書法，以篆隶體參合行楷，非古非今，非隶非楷，自稱“六分半書”。有縱橫錯落，瘦硬奇峭之致，自成體貌。但康有為評其書：“乾隆之世，已慶舊學，冬心、板橋，參用隶筆，然失則怪，此欲變而不知變者。”擅畫蘭竹，以草書中竪長撇法運筆，多不亂，少不疏，體貌疏朗，筆力勁峭，自稱“四時不謝之蘭，百節長青之竹，萬古不敗之石，千秋不變之人”，借以寄托其堅韌倔強的品性。善詩文，詩意新奇，如題《破盆蘭》云：“春雨春風洗妙顏，一辭琼島到人間，而今究竟無知己，打破烏盆更入山。”有描寫民間疾苦之作，如《悍吏》、《私刑惡》、《逃荒行》等，所寫《家書》、《道情》，真摰坦率，為人稱許。自謂“凡吾畫蘭、畫竹、畫石，用以慰天下之勞人， 非以供天下之安享人也。”傳世作品畫迹有《竹石圖》軸，現藏天津市藝術博物館；《芝蘭全性圖》軸，藏上海博物館，《蘭石圖》軸，藏四川省博物館；書迹有《草書唐人絕句》軸，藏南京博物院。著有《板橋全集》、《板橋先生印冊》等。
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