Brief introduction of the four great calligraphers:
Aisingiorro Yongxun (1752- 1823) was born to Jin Jiashi, the imperial concubine of the Shu family, and was the owner of the Golden House. In the fifty-fourth year of Qianlong, he became a prince. I loved calligraphy art since I was a child, and with the unique conditions, I was able to get a glimpse of what was hidden in the inner government. My collection was also very rich, and the title was heavy for a while. Yong Xun studied regular script from Zhao Mengfu and Ou Yangxun, and small script went in and out of Jin and Tang Dynasties. His calligraphy is elegant, elegant and elegant. Cursive script is also profound and elegant. He dabbled extensively in various schools of thought, and was called the four great calligraphers in the middle of Qing Dynasty together with Liu Yong, Weng Fanggang and Tie Bao. In the ninth year of Jiaqing, the imperial edict said, "My brother has been specializing in calligraphy for the prince since he was a child, which won the ancient people's intention of using a pen. Bo has set foot in many families and worked in various fields. He has been in the swimming pool for decades. There are few courtiers' writings recently. "
Tie Bao (1752— 1824), a flag bearer in Huang Zheng, Manchuria in the Qing Dynasty, was known as a lion, and later changed to Dong 'a, where the world would be ruled. The word, also known as Tieqing, is called Mei 'an and Huai. Influenced by Chinese culture since childhood, he has laid a good foundation in poetry and calligraphy. Less poetry, that is, a hundred years old, has a good style of writing. He is called "Three Talents" and graduated from imperial academy at the age of 16. At the age of 19, he took the metropolitan examinations in Shuntian, and two years later, he was admitted as a scholar and was appointed as the head of the official department. From then on, I entered the official career. Because he is young and promising, he is highly valued by A Gui, a great scholar. He was sponsored and appreciated by Emperor Qianlong for many times, and was awarded a bachelor's degree in reading and lecturing in imperial academy and a bachelor's degree in cabinet. In the fifty-fourth year of Qianlong (1789), he was promoted to assistant minister of rites. In the tenth year of Jiaqing (1805), the official went to the governor of Liangjiang and was sent to the garrison many times. He was exiled to Xinjiang and Jilin. The official career has also experienced ups and downs. After nearly 50 years of ups and downs, the official residence is the highest. At the beginning of the Yuan Dynasty, when Daoguang begged for rest due to eye diseases, he only gave him three titles as an official. Died three years later. Tie Bao was the first calligrapher among the Banners. People evaluate him, Weng Fanggang and Liu Yong as the four great calligraphers in the middle of Qing Dynasty. And Liang, and also known as the "six masters." He used to be the curator of the Eight Banners Tongzhi Museum, collecting Manchu poems. In literature, he edited all the virtues's Poems and Song Ya Collection named by Emperor Jiaqing, and wrote The Complete Works of Wei. Calligraphy is compiled with Wei copybook, People's Calligraphy and Wei Calligraphy, which is valued by Yilin.
Tie Bao loves calligraphy very much, which can be seen from one of his poems: "It is difficult to get rid of the habit of smearing for half a lifetime, others laugh at it, and children and grandchildren look for paintings every day, leaving behind books instead of gold coins." Although he has been in a high position for a long time, he just wants to leave his calligraphy works to future generations.
Tie Bao's calligraphy is based on regular script and he is good at cursive script. Beginner Zhao Mengfu, later Dong Qichang, regular script Yan Zhenqing. In addition to learning from the "two kings" and Huai Su, Sun and others, cursive script is more admired for learning from Zhang Xu. His regular script focuses on Yan Zhenqing, and he has accomplished himself by many teachers. His calligraphy is based on the people of Jin and Tang Dynasties. He devoted himself to the pursuit of calligraphy, studied calligraphy intensively, and absorbed beneficial calligraphy nutrition from famous artists of Jin and Tang Dynasties. He never stopped writing calligraphy posts of famous calligraphers in Jin, Tang, Song, Yuan and Ming dynasties, and his efforts were beyond the reach of the world, thus forming his own unique calligraphy characteristics and becoming a master of calligraphy. While studying Wang Xianzhi's calligraphy, Tie Bao also learned from Wang Xianzhi's personality and inherited this innovative spirit. Tie Bao once said: "Writing a book, like being a man, is not as smooth as being natural, and cannot be faked." . Therefore, natural naivety is the artistic feature of Tie Bao's calligraphy, which is manifested in his calligraphy creation, that is, opposing affectation and pursuing natural naivety.
Tie Bao's calligraphy "Mr. Evening Festival Dao" is a cultural relic of Qing Dynasty and a social collection. Cross-string, running script, gold wax lettering paper, the center of the figure is 29.3 cm long, and the width is 122.3 cm, with no calendar year, * * * 18 lines (see figure). The content is: "Mr. Tao turned lonely in the evening and had bamboo entertainment at the age of 20;" Du Zhen, a rough talent, can laugh, and there are 100 thousand soldiers in the army. The overflowing water flows eastward, and the left boundary of the galaxy is psychic; If this station is looking for astronomy, which star is Tinglu? It is strange that Mr. Wang does nothing every day; Last night, the breeze was sleeping in the north, and the morning sun was refreshing. " Inscribed as "Jingqiu Xiong Yin's elegant teachings, brother Tie Bao". There is an "emperor's seal" under the oval of the bell. In addition, one side cited the first seal (unable to read the text clearly), and the corner seal "Iron Stone Mountain Mark" was Zhu.
Due to the age, improper preservation has caused two incomplete words. Its content may be three seven-character poems, and two words may be lost due to clerical errors. According to the signature, it can be concluded that this calligraphy work was written by Tie Bao for his brother or brother-in-law. In this article, we persuade his brother or brother-in-law to pay more attention to the people's sufferings, revive his glory, continue to serve the country and create new achievements. As can be seen from the contents of his calligraphy, Tie Bao loves the country and the people, and his heart is full of worries about the country and the people.
This calligraphy works both regular script and regular script, free and steady, consistent throughout, echoing up and down, echoing left and right. The style of writing has always been pure and free and easy, with the heavy foundation of Su Dongpo and Yan Jieshu. His book has the style of Zhao Shu, but it also has its own realm. The composition of this calligraphy work is harmonious and natural, with vertical and horizontal structure and natural characters, big or small. In writing, the strokes are slightly blunt, thick or thin, or oblique, or middle or side strokes, and the strokes are undulating and rhythmic, and the changes constitute a rhythmic symphony. But the momentum runs through. The flesh and blood stopped evenly, without any free and abrupt words and strokes. The brushwork is steep and thick, the brushwork jumps, the brushwork is skillful, the lines are smooth, the rigidity and softness are combined, and the words are beautiful and unique, which constitutes a perfect artistic realm and is pleasing to the eye. It is a very rare and precious cultural relic with certain historical and artistic value. Tie Bao's achievements in calligraphy art are worthy of our serious study and reference in the future.
Through a great deal of writing on inscriptions in Jin, Tang, Song and Yuan Dynasties, as well as his own understanding and innovation, Tie Bao finally established his own calligraphy style and reached the artistic peak.
Weng Fanggang (1733 ~ 18 18) was a calligrapher, writer and epitaph in Qing Dynasty. The word is three, the word is loyalty, the number is, and the number is Su Zhai. A native of Daxing (now Beijing) in Zhili, he was a scholar for 17 years and was edited. He studied politics in Guangdong, Jiangxi and Shandong provinces, with a bachelor's degree, and served as a cabinet official. He is proficient in epigraphy, music, calligraphy and painting, and has a study of ci chapters. Calligraphy is as famous as that of Liu Yong and Liang at the same time. On "Muscle Theory" in Poetry Creation.
Weng Fanggang was a scholar of Shen Cohen in the 17th year of Qianlong (1752). He was taught and edited in San Guan, with a bachelor's degree in cabinet. Full-length portrait of Li
Bachelor of Guange, secretary of Zuohong Temple, second-class title after the banquet. He has presided over the provincial examinations in Jiangxi, Hubei, Jiangnan and Shuntian, and has supervised the study of politics in Guangdong, Jiangxi and Shandong. Weng Fanggang is good at textual research, epigraphy and calligraphy, and he is also the pioneer of the "muscle theory" poetry theory in Qing Dynasty. Learn from Europe and America and obey the law. In Shu, it is said that Weng Fanggang can write fine print on melon seeds, and his skill in this field can be seen. In Qing Dynasty, calligraphers called him "Weng, Liu, Liang and Wang" together with Liu Yong and Liang. It is as famous as Liu Yong, Prince Yong Cheng and Tie Bao, and is called "Weng Liu Chengtie". Bao's "Art Boat and Twin Towers" said: "Wan Pingshu is only the ear of a craftsman. All the inscriptions are searched silently, and the style of writing must be unique, and the brushwork is unknown." Ma Zonghuo's "A Brief Discussion on the Moon Building" said: "The Western Qin Dynasty respected the law, which was quite ridiculed by critics; However, its real books are neat and heavy, much like the classics written in the Tang Dynasty, and its quiet environment is not a remnant of stone classics. " Weng Fanggang is the author of 35 volumes of Collected Works of Fuchuzhai, including 4 volumes in foreign languages, 42 volumes of Poems of Fuchuzhai, Notes on Inscriptions in the Han Dynasty, Notes on Inscriptions in Eastern Guangdong, Textual Research on the Residual Characters of Stone Inscriptions in the Han Dynasty, Textual Research on Ding Ming in Jiao Shan, Temple Monuments and Tang Monuments, and Shizhou Poetics.
Liu Yong (1719-1804), whose real name was Confucianism, was a politician and calligrapher in the Qing Dynasty, and his father Liu Tongxun was an important official in the Qianlong period of the Qing Dynasty. Qianlong sixteen years (175 1) Jinshi. Successively served as imperial academy Jishi Shu, Taiyuan Magistrate, jiangning house Magistrate, Bachelor of Cabinet, and Bachelor of Tijen Hall. He is famous for obeying the law, being honest and upright. Liu Yong, a famous calligrapher in Qing Dynasty, has profound calligraphy attainments and is called "Prime Minister of Thick Ink" by the world. Jiaqing died in December of the 9th year (1805+0), wenqing, posthumous title.