Dancing Crane Fu Dong Qichang's full text

The original author of the poem was Bao Zhao, a writer of the Southern Song Dynasty. Mi Fu (1051 - 1107) wrote the poem and dedicated it to Emperor Zhao Ji. However, there was also a saying that the work was a fake from the Ming and Qing Dynasties. While waiting for the TV series, he could also read the exciting content related to this site!

Mi Fu's "Ode to the Dancing Crane" was rated as "unprecedented" by Ke Jiusi. From a calligraphy point of view, the power of the brush and ink was amazing and had a strong visual impact. At first glance, it could instantly lock one's eyes. Judging from the posture of the dancing crane presented in the content of the work, the description of the dancing crane in the text was extremely vivid, such as "At the beginning, it was a phoenix, but at the end, it was a dragon." Wandering and wandering, shaking and shaking. The words "Frightening body, flying wings, snow" and so on vividly displayed Wu He's movements and demeanor. Moreover, this work was Mi Fu's pinnacle work when he was 56 years old. It was originally hidden in the Song royal family and later in the Yuan imperial palace. It was lost and then rediscovered. This process also reflected its unique status and value in art history. While waiting for the TV series, he could also read the exciting content related to this site!

"Dancing with the Crane" had many forms of expression: - In terms of photography works, many photos of black-necked cranes by Qujing photographer He Fanshao were exhibited in different photography exhibition, such as 20 photos of Huize black-necked cranes at Xishuangbanna International Image Exhibition in December 2021, and 24 photos of black-necked cranes at Sanmenxia City and Eco International Photographic Exhibition in November 2019, showing the charm of cranes through photography works. - In the daily life scene, there were interesting scenes such as a little girl's "dance battle" with a red-crowned crane through the window. - In the field of literary creation, the poet Fu Xueqian (Qu Jin, Xue Qian) wrote a collection of poems, Dancing with the Crane. His poems were rich in creation and published in many newspapers. His works also reflected the images or emotional implications related to the crane. - In the natural environment, people could watch the cranes 'activities and feel the state of the cranes in nature, as if they were dancing with them. - In traditional culture, cranes often courted by dancing, and the husband and wife accompanied each other for life. They symbolized loyal love, and this characteristic could also be understood as a spiritual meaning of "dancing with cranes". At the same time, in Taoist culture, cranes were closely related to Taoist immortals, such as Taoist priests holding crane fans, riding cranes and roaming. From a cultural perspective, there was a common spiritual realm or moral connection with cranes. "The Crane Drinks the Spring Breeze" is equally exciting. Everyone is welcome to click and read it!

In the reference materials, there was a photography work called "Crane Dance in Danyang". In addition, there were also activities with the theme of "crane" in Danyang area. For example, the public brand of Danyang Modern Agriculture Industry demonstration park was called "Crane Dance Original Fresh", and the Danyang community had held an artistic performance of "Crane Dance Chongyang·Peace Year After Year". These showed that there were many connections between "crane" culture and Danyang area."Crane Dance in Danyang" might be a reflection of this regional cultural characteristics. "The Crane Drinks the Spring Breeze" is equally exciting. Everyone is welcome to click and read it!

"Crane Dance in Qingcheng" might have many meanings. On the one hand, there was an article written by Wu Huixia about the Crane Dance in Qingcheng. The article described his experience of coming to Egret Bay on Qingcheng Mountain. The scenery here was beautiful, and many celebrities were here for cultural exchanges between Sichuan and Chongqing. On the other hand,"Crane Dance in Qingcheng" was also the theme of the calligraphy and painting cultural exchange activities in Chengdu-Chongqing Shuangcheng. For example, the calligraphy and painting cultural exchange activity in Chengdu-Chongqing Shuangcheng was held on September 16,2023 at Wuhui Xia Painting Hall in Bailu Bay of Qingcheng Mountain, named "Crane Dance in Qingcheng, Rising Sun and Moon Heng". "The Crane Drinks the Spring Breeze" is equally exciting. Everyone is welcome to click and read it!

The author of "Ode to the Dancing Crane" was Bao Zhao. Bao Zhao was a writer in the Southern Song Dynasty. His literary achievements were extensive, involving poetry, Fu, parallel prose, etc. His creation was mainly poetry, and there were 204 pieces left today. His Yuefu poems were elegant and beautiful. His works also reflected the positive Confucianism and the ambition to resist the powerful families. While waiting for the TV series, he could also read the exciting content related to this site!

" Feihe " was mainly about Feihe milk powder, including the milk sources, nutritional formulas, and effects of different series of Feihe milk powder, such as Jugao Star, Zhenai Bihu, and Essence Yijia. It was related to modern commercial products. " Ode to the Crane Dance " was a literary work created by Bao Zhao. It described the image, habits, posture, and so on. It was a creation in the field of literature and art. The two were fundamentally different in terms of their fields and content. While waiting for the TV series, he could also read the exciting content related to this site!

The crane dance of the red-crowned crane was a combination of dozens or hundreds of movements. Most of the movements had a clear meaning, mainly to show friendship and love. They would start to dance in sync with each other, and the dance was very beautiful. In addition, people would also imitate the expressions and movements of red-crowned cranes to create dances. For example, the Sanzao Crane Dance created by the people of Sanzao in the Song Dynasty imitated the movements of white cranes such as fishing, flying, playing, chirping, resting, etc. This crane dance was a way for the local people to welcome the spring and congratulate the old on their birthday. In recent years, they had participated in many large cruises of intangible cultural relics activities. The movements of their performances were light and agile. When they danced the white cranes, they were accompanied by crane songs. The tone of the crane songs was melodious, and the content was healthy, elegant, auspicious, and the white cranes were danced. When singing the crane song, drums, gongs, and cymbals would be used to beat the accompaniment. The sound was thick and thick, setting off a festive atmosphere. At the same time, red-crowned cranes would also interact with humans and " dance." For example, when a little girl hopped at the red-crowned crane through the glass, the infected red-crowned crane would also " dance." " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!

Ni Yuanlu's " Ode to the Dancing Crane " was a nine-meter-long banner work. It was the most representative and wonderful cursive script work of Ni Yuanlu's works in the collection of the Palace Museum. This volume uses the pen to go in and out. The writing is bold and unrestrained. The pen is dignified but without stagnation. The thick ink and thirsty pen achieve the artistic effect of creating moisture and reflection. The rhythm was tight, and the wide spaces between the lines set off a unique atmosphere, full of exciting artistic appeal. Ni Yuanlu's cursive calligraphy was assisted by Wang Youjun, Yan Lugong, and Su Dongpo. His calligraphy was sharp and muddy, with thirsty pen and thick ink complementing each other. His words were strange and changeable, and his calligraphy style was strange. He was praised as "three wonders" of "strange brush, strange word and strange style" and "three feet" of "sufficient momentum, sufficient meaning and sufficient rhyme". In " Ode to the Dancing Crane," the overall appearance of calligraphy was Yan Shu's physique. His strokes were clumsy and clumsy, round and magnificent, and quite awe-inspiring. Different from his sharp strokes, his strokes were wide and restrained, varied, and did not stick to one style. Ni Yuanlu was the representative of the freehand calligraphy style in the chaotic times of the late Ming Dynasty. She stood on the same level as Huang Daozhou and Wang Duo with her distinctive pen and ink language. She was known as the three trees in the calligraphy world at the end of the Ming Dynasty and became an outstanding existence in the history of calligraphy in the late Ming Dynasty. His noble character and calligraphy art were admired by later generations, influencing the calligraphers of the late Qing Dynasty and the early Republic of China, injecting a strong new wind of vitality into the calligraphy world of later generations. Moreover, Shen Peng's cursive script had a lot of similarities with Ni Yuanlu's " Ode to the Dancing Crane ". While waiting for the TV series, he could also read the exciting content related to this site!