明末清初，山西有位书生可谓奇人。他胸怀大志，抱平世经国之才，学问为一世之冠。然而皇帝授他官职，他却不做，把满腹才情寄之书法绘画。他中年丧妻之后，一直未续，侍奉于母侧。其母年迈体弱，长期卧榻。为使母亲康泰颐寿，他研制了以肥羊肉、莲藕、山药、黄芪等八种药材和食物为原料的“八珍汤”，作为老人冬季进食的早点和调补品。经过一个冬季的精心调治，他的母亲百病尽消，精神焕发，从此“八珍汤”之名不胫而走，人称其为“名医孝母剂”。他，是与顾炎武、黄宗羲、王夫之、李颙、颜元一起被梁启超称为“清初六大师”的傅山先生。傅家世代书香，傅山的祖父傅霖官至山东辽海兵备道，当时的傅氏家族在山西已煊赫不凡。其父傅之谟为贡生，在家恪尽孝子之责，同时开馆授徒。傅山（1607—1684），初名鼎臣，字青竹，后改青主。因在山西省寿阳县五峰山龙池出家为道，道号真山，别号朱衣道人。山西阳曲（今太原市北郊区）人。傅山对经、史、诸子、道教、佛教、诗文、书法、绘画、音韵、训诂、考据、杂剧以及医学等，均有比较深入的研究与独到的见解，是一位罕见的具有多方面成就的思想家与学者。晚明城市文化表面上生机勃勃，实际隐藏着很多危机。党争不断，经济也呈现严重的危机。李贽用激进的方式将王阳明、罗汝芳的学说推向极端，李贽所提倡的内在的真实的自我，影响了晚明艺术，非精英文化受到极大的关注。傅山生活在这样的文化环境中，推崇古代无名氏碑刻，也非常赏识文化水平不高的书写，还把儿童书写和“天”联系起来。傅山“语少含蓄”，没有庸俗气习，反对奴性，厌恶“奴儒”，在明末的地位尤高。战火纷飞，无数手稿都遗失殆尽，唯独关于儿子的《杂记》一直随身携带。对于子孙的教育，傅山的重视程度非常高。在其《看书》诗中写道：还是看书好，关门目也尊。无尘到银海，有美共唐园。乐饵村居省，秋心对雨言。鹑褴容易痒，不学猛奴扪。《杂训》中也说道：“自贵莫如忍辱，忍辱莫如远人，远人莫如亲书。”在傅山家训中，文训、诗训、韵学训、音学训、字训、仕训、佛经训等涉略颇广。十六字格言也将其一生的生活经验都记录下来，“静、淡、远、藏、忍、乐、默、谦、重、审、勤、俭、宽、安、蜕、归”，无不是生活智慧。“号令自我发，文章自我开”。傅山的艺术极具浪漫主义色彩，他反传统、张扬个性、“尚奇”。傅山自幼勤于临池，《傅山全书》中这样记载：“吾八九岁即临元常，不似。少长，如《黄庭》《曹娥》《乐毅论》《东方赞》《十三行洛神》，下及《破邪论》，无所不临，而无一近似者。最后写鲁公《家庙》，略得其支离。又溯而临《争座》，颇欲似之。又进而临《兰亭》，虽不得其神，渐欲知此技之大概矣。”傅山篆刻，刀法、章法均见功力。后辈儿孙在他影响下也钻研这门艺术，其子傅眉犹擅长治白文印。傅山曾写道：“印章一技，吾家三世来皆好之，而吾于十八九岁即能镌之。汉非汉，一见辨之。如如来所谓如实了知，敢自信也。”傅山对书法有其独到的见解，认为篆隶为学书的不二法门。他追求“硬拙”，认为“拙”更能表达内心最原始、最自然的状态。傅山在一段文字中，谈到“字中之天”：“……才知我辈作字，卑陋捏捉，安足与字中之天！此天不可有意遇之，或大醉后，无笔无字复无字，当或遇之……”这样的观点反映出他追求自然，不事雕琢的朴素自然观。傅山更提倡“如才有字”的“高古”。他反对当时复古书风中出现的软美、巧媚等弊病，在《作字示儿孙》文中，提到“四宁四毋”，即“宁拙毋巧，宁丑毋媚，宁支离毋轻滑，宁直率毋安排”。“四宁四毋”书论，发聋振聩，良药苦口般地诞生在那个时代，彰显出独特的人格魅力和人文精神，也为清代反对只重帖学、摆脱馆阁体提供了理论依据，建立了清代碑学体系的审美，是清代碑学的滥觞。北京大学教授、引碑入草开创者的李志敏评价：“傅山的草书圈眼多，繁而不乱，于郁勃浑脱之中，又有逸岩之态。”清代张庚《国朝画征录》称傅山“善画山水，皴擦不多，丘壑磊珂，以骨胜。墨竹亦有气。兼长分隶书及金石篆刻”。其山水画风格古拙奇特，雄浑大气。现藏北京故宫博物院的《山水图册》尺幅虽小、气象万千。这是册页中的一帧，敦厚沉稳的石头上古树生机勃勃，趣味自生，远山苍苍茫茫，意境悠远。他绘画中的古拙、萧散之风正如其《题自画山水》中所言：“天下有山遯之精，不恶而严山之情。谷口一桥摧诞岸，峰回亭虚迟癯形。直瀑飞流鸟绝道，描眉画眼人难行。觚觚拐拐自有性，聘娉婷婷原不能。问此画法古谁是，投笔大笑老眼瞠。法无法也画亦尔，了去如幻何亏成。”“人奇字自古”。傅山书画之所以奇，先是由于人奇。有此奇人，方有此奇艺。常有人说，傅山书画不可学，学也很难学成。其实不是不可学，是先要感受傅山的为人，而后才能领悟到他的艺术内涵。正是因为有傅山的为人，才有傅山的艺术特色。归去来辞 局部（草书） 傅山崛围红叶（国画） 傅山

In the late Ming Dynasty and early Qing Dynasty, there was a scholar in Shanxi, who was a wonder. He is ambitious, holds the talent of managing the country in the world, and his knowledge is the highest in the world. However, the emperor granted him an official position, but he didn't do it. He sent his talents to calligraphy and painting. After his middle-aged wife died, he never continued to serve his mother. His mother is old and weak, and she stays in bed for a long time. Eight kinds of herbal medicines, such as lotus root soup and lotus root soup, were developed for the elderly in winter. After a winter's careful treatment, his mother's illness disappeared and her spirit was refreshed. From then on, the name of "Bazhen soup" spread widely and was called "famous doctor filial piety agent". He, together with Gu Yanwu, Huang Zongxi, Wang Fuzhi, Li Zhe and Yan Yuan, was called "the six masters of the early Qing Dynasty" by Liang Qichao. The Fu family has been well-known for generations. Fu Lin, the grandfather of Fu Shan, went to Liaohai, Shandong to prepare for the road. At that time, the Fu family was already famous in Shanxi. His father, Fu Zhimo, was a tribute student. He did his duty of filial piety at home and opened a museum to teach disciples at the same time. Fu Shan (1607-1684), first named Dingchen, with the word "green bamboo", was later changed to "green Lord". Because he became a monk in Longchi, Wufeng mountain, Shouyang County, Shanxi Province, the Taoist name is Zhenshan and is also called Zhuyi Taoist. Shanxi Yangqu (now the northern suburb of Taiyuan) people. Fu Shan is a rare thinker and scholar with many achievements. He has deep research and unique opinions on scriptures, history, philosophers, Taoism, Buddhism, poetry, calligraphy, painting, phonology, exegesis, textual research, Zaju and medicine. On the surface, the urban culture in the late Ming Dynasty was vibrant, but there were many crises hidden in reality. The party struggle continues, and the economy also presents a serious crisis. Li Zhi pushed the theories of Wang Yangming and Luo rufang to extremes in a radical way. The inner real self advocated by Li Zhi affected the art of the late Ming Dynasty, and the non elite culture received great attention. Living in such a cultural environment, Fu Shan respected the ancient anonymous inscriptions, appreciated the writing with low cultural level, and connected children's writing with "heaven". Fu Shan's "less implicit language", no vulgar habits, opposed servility and hated "slave Confucianism", and his position was particularly high in the late Ming Dynasty. Numerous manuscripts were lost in the flames of war, but the miscellaneous notes about his son was always carried with him. Fu Shan attaches great importance to the education of his descendants. In his poem "reading", he wrote: it's better to read and respect your eyes when you close the door. Clean to the silver sea, there is the American Communist Party Tang garden. Yue Baicun lives in the province, and Qiu Xin speaks to the rain. Quails are easy to itch when they are ragged. They don't learn to be touched by fierce slaves. "Miscellaneous training" also said: "self expensive is nothing like humiliation, humiliation is nothing like a distant person, and a distant person is nothing like a book." In Fu Shan's family training, literary training, poetry training, rhyme learning training, phonetic learning training, word training, official training, Buddhist Scripture training and so on are quite extensive. The sixteen character Maxim also records his life experience, "quiet, light, far, hidden, tolerant, happy, silent, modest, heavy, careful, diligent, thrifty, lenient, safe, shed and return", all of which are life wisdom. "Give orders and write articles". Fu Shan's art is full of romanticism. He opposes tradition, publicizes his personality and "advocates strangeness". Fu Shan has been diligent in linchi since childhood, "Fu Shan Quan Shu" records this way: "I came to Yuan Chang at the age of eight or nine, which is different. I grew up a little, such as Huang Ting, Cao E, Le Yi Lun, Dongfang Zan, the thirteen elements of Luo Shen, and the next and the theory of breaking evil. I came to everything, but there is no similarity. Finally, I wrote the family temple of Duke Lu, which was slightly separated. I went back to fight for seats, which is quite similar. Then I came to Lanting, which is not its God, and I gradually want to know the general idea of this skill." Fu Shan's seal cutting skills can be seen in both knife and composition. Under his influence, his children and grandchildren also studied this art. His son Fu Mei was good at Changzhi white print. Fu Shan once wrote: "my family has been good at seal for three generations, and I can engrave it at the age of eighteen or nine. Han is not Han, and I can distinguish it at first sight. If the Tathagata says that he knows it truthfully, he can be confident." Fu Shan has his unique views on calligraphy and believes that seal script is the only way to learn calligraphy. He pursues "hard and clumsy" and believes that "clumsy" can better express the most primitive and natural state of his heart. In a passage, Fu Shan talked about "the heaven in the word": "... We know that when we write words, we are humble, pinched and caught, and we are at peace with the heaven in the word! We can't meet it intentionally on this day, or when we are drunk, we can't have no words without pen, when we meet it..." this view reflects his simple view of nature, which pursues nature without carving. Fu Shan also advocates the "high ancient" of "if there are words". He opposed the disadvantages of soft beauty, cleverness and flattery in the style of retro books at that time. In the article "writing words to show children and grandchildren", he mentioned "four rather than four", that is, "better clumsy than skillful, ugly than flattery, detached rather than smooth, straightforward rather than arrangement". The book theory of "four Ning and four no" was born in that era like a bitter pill, showing its unique personality charm and humanistic spirit. It also provided a theoretical basis for the Qing Dynasty to oppose only paying attention to calligraphy and get rid of the pavilion style. It established the aesthetics of the stele system in the Qing Dynasty, which was the origin of the Stele Study in the Qing Dynasty. Li Zhimin, a professor at Peking University and the founder of introducing steles into the grass, commented: "Fu Shan's cursive circle has many eyes, which are complex but not chaotic. In the midst of Yu Bo Hun, it has the state of Yi rock." Zhang Geng's collection of paintings of the national Dynasty in the Qing Dynasty said that Fu Shan was "good at painting mountains and rivers, with few chaps, gentle gullies, and strong bones. Ink bamboo also has Qi. It is also divided into official script and gold and stone seal cutting". Its landscape painting style is ancient and unique, vigorous and atmospheric. Although the landscape atlas, which is now stored in the Palace Museum in Beijing, is small in size and has a myriad of atmosphere. This is a frame in the album. Thick and steady stones, ancient trees are vibrant, interesting and self-sustaining, distant mountains are boundless, and the artistic conception is distant. In his paintings, the style of Gu Zhuo and Xiao San is just like what he said in his self painting landscape: "there is the essence of mountain Tun in the world, which is not evil but strict. A bridge at the mouth of the valley destroys the birthday bank, and the peak back to the pavilion is empty and late. There are no straight waterfalls, flying birds, and it is difficult for people to draw eyebrows and eyes. Gu Gu Gua Gua Gua has its own nature, so Ping Tingting can't be employed. Ask who is the ancient painting method, cast a pen, laugh and stare at the old eyes. If the method can't draw, it's like magic. What's the loss." "People have strange words since ancient times". The reason why Fu Shan's calligraphy and painting are strange is that people are strange first. If there is such a strange person, there is such a strange skill. It is often said that Fu Shan's calligraphy and painting cannot be learned, and it is difficult to learn. In fact, it is not impossible to learn. We must first feel Fu Shan's personality, and then we can understand his artistic connotation. It is precisely because of Fu Shan's personality that he has the artistic characteristics of Fu Shan. Part of the return speech (cursive script) Fu Shan Jue Wai Hongye (traditional Chinese painting) Fu Shan