In his later years, Chu Suiliang's calligraphy reached a superb level and made great contributions. If we put Ou Yangxun's and Yu Shinan's regular script works together with Yan Suiliang's works, we will obviously see the change of style. Obviously, the pursuit of brushwork has caused this change. If the performance of regular script in calligraphy is to use pen, Chu Suiliang is the highest. If the North Monument embodies a kind of beauty of backbone, Ou Yangxun embodies a kind of rational beauty from strict laws, and Yu Shinan embodies a kind of gentle and restrained beauty, then it shows a kind of beauty from brushwork. In Ou Yangxun or Yu Shinan, lines and brushwork are used to shape fonts. Chu Suiliang is a master with aesthetic charm. He deliberately handles every stroke, every line, every point, every turning point ... So, this deliberate transcendence of glyphs seems to have an independent meaning out of form, making the dotted line an abstract beauty. It can be seen that the rigorous regular script structure established by Ou Yangxun and others has begun to loosen under Yan Suiliang's pen. This looseness is not due to his lack of skills or anything else, but because he knows how to express his wandering feeling with the density of structure and the slowness of pen. If Ou Yangxun is a "master of structure", Chu Suiliang is a "master of lines". His lines are full of life, and the calligrapher's life consciousness is also integrated into the structure, which obviously embodies an important aesthetic category in China's artistic aesthetics: the beauty of flying. Where did this flying beauty come from? Obviously, Chu Suiliang is more artistic than Ou Yangxun or Yu Shinan, that is to say, there is a kind of wisdom in his artistic character. Yuan Zhongdao said in the preface to Liu Shi, Volume I of Zhai Ji: "Where wisdom flows, it is extremely flowing and interesting. Interest in the world is not without wisdom, the mountains are exquisite and polymorphic, the water is rippling, the flowers are vivid and colorful, and the list is endless. This is all caused by a shrewd spirit between heaven and earth, so it is cherished by people. " In Chu Suiliang's calligraphy, we can really see the beauty of flow and dance brought by such "shrewdness". When he uses a pen, he rolls freely like a dancer's sensitive toes. In the constant movement of flying light spirits, one beautiful shape after another has been completed. In Chu Suiliang's delicate and graceful lines, there is a kind of comfortable feeling like flowing clouds, which flows leisurely between his fingers and wrists and is implemented in the painting room, reflecting the author's upright character and profound accomplishment.
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Cai LUN's calligraphy
The metaphor of Chu Suiliang's calligraphy is this: "I heard that Chu Henan used a pen like Yin Yinni, and I thought about it for a long time. Later, reading Dao Jiang Pingsha fine land made people want to study, and they took books whenever they had a sharp edge, which was bright, beautiful, natural and charming, and realized their previous ambitions. I covered the grass with a pen, knowing that I want to make the nib wear the back of the paper, and the pen is like painting sand and inkpad, and it will eventually become a natural trace, comparable to the ancients. " This kind of beauty and charm, but also ups and downs, is the biggest feature of Chu Suiliang's works.
Song people did not put forward blame and postscript.
"The method of cursive script is ever-changing and endless. I made a regular script in Chu today. Or comment on the cloud: the strength of the pen and the ancient momentum are one of them. " How amazing it is that cursive script can be fully displayed in regular script! Careful observation shows that none of his strokes are straight, but curved; Unlike Ou Yangxun or Yu Shinan, they keep each stroke straight and even, but restrain ups and downs, give priority to and make full use of changes. From the perspective of brushwork, Xiao is scattered and indifferent, especially his lack of shirts and shoes can be described as extremely romantic. In short, in terms of brushwork and posture, Chu Suiliang directly inherited the demeanor of Jin people; In other words, he is the calligrapher who has the deepest understanding of the charm of Jin people among his contemporaries, and shows this charm in his own books. He is not only the creator of the regular script style in the early Tang Dynasty, but also the successor of the calligraphy style in the Jin Dynasty. After him, people turned to another calligraphy style, although the demeanor of Wei Jin people is still admirable. Does the comparison of Chu Suiliang with Ou Yangxun and Yu Shinan, the masters of regular script in his time, mean that calligraphy has changed from classicism to romanticism since Chu Suiliang, or from "beautiful function" to "heroic spirit" in pure art?
Zhang Huaiguan commented on Chu Suiliang's calligraphy.
He said, "If the Yaotai is green, it will reflect the spring forest: it is beautiful, like Luo Qi's disapproval, and it will attract graceful people." It shows a completely different aesthetic tendency from the previous calligraphy. The lines of Chu Suiliang's calligraphy are full of life, and the calligrapher's life consciousness is also integrated into the structure. Whether Chu Suiliang pursues this point deliberately or not, at least it is certain that the kind of emotional appeal he injected into his works is flowing out of his works, which fascinates us.
Su Dongpo's evaluation
In the article "After Six Books in Tang Dynasty", the six calligraphy masters in Sui and Tang Dynasties were evaluated one by one: "The book of Yong Zen Master is strong and stable, with wonderful body and ability, but weak. Look at Peng Taoze's poems. If you don't accept them at first, you will know their strangeness. " "Ouyang rate more book tight pull group frame, especially in lower case. When Han sent an envoy to buy his books, Gaozu sighed,' You think you are a great man when you read his books.' This is not a real knowledge book. People who know books, like others, are more likely to sleep with cold eyes and are sensitive to others. Looking at their books now, they are bold and sharp, which is just called their appearance and ears. ""Chu Henan book Qingyuan xiaosan, slightly miscellaneous official body. ..... ""Zhang Changshi cursive script dripped into the sky, slightly stippling and self-sufficient, so-called divine escape. Today, Chang 'an still has a book with a long history, The Story of Langguan Shizhu, which is simple and far-reaching, like the people of Jin and Song Dynasties. " Yan Shu is an ingenious show work, which has become an ancient method. For example, Du Zimei's poem, Gree Tianzong, was selected from the romantic life since the Han, Wei, Jin, Tang and Song Dynasties, and it was difficult for later authors to recover it. ""Liu Shu out of yan, and can bring forth the new. A word of gold is not empty. "
Qingyuan Xiao San Mi Fei Review
Chu Suiliang's calligraphy only uses four words "Qingyuan Xiaosan". This kind of Qingyuan mistress is exactly the beauty of artistic conception pursued by Dongpo. Mi Fei commented on Ou Yangxun, Yan Zhenqing and Liu Gongquan when commenting on books: "Ouyang Daolin Temple is cold and frugal." "Ouyang is like a newly ill person, with a haggard face and hard steps." "It's really accomplished to learn from Chu Suiliang, and it's not too much to learn from famous artists. It's not dull and unnatural. Generally speaking, Yan Liu punched and kicked, and was the ancestor of the ugly and evil Zagreb in later generations. Since then, the ancient law has fallen. " "Yan Xingshu is impressive and really vulgar." "kokuseiji, the public power, is disproportionate in size and takes a lot of effort." "This strange ChuYan not self sustaining, also can half points the rules of the ancients. Public power is ugly, as can be seen from Zi Gu Law. None of these calligraphers in the Tang Dynasty was criticized by Mi Fei, but they praised Chu Suiliang in this way: "Chu Suiliang is like a skilled steed, and he moves with others, but he has a distinctive pride." The copy of Chu Suiliang's Preface to Lanting is even more admirable (see above), and even impressive. Mi Fei's son, Mi Youren, also praised him: "Chu Shu is the most outstanding among the celebrities in the Tang Dynasty and knows the most about Xi." . The mantra has its own method and its own family. Non-people can compete. "Xiong Bingming quoted Zadejin in Diary Excerpt-About Rodin as saying:" ... what you should grasp in sculpture is the' structural spirit', which is the only principle, and you can create the rest ... "... Chu Suiliang provided such a' spiritual structure' for future generations, and those who learn from him can. Take away the brushwork, brushwork, structure and statutes from him, and then do your own creation, reform and renovation. Xue Ji studied under him, thin and hard, and became one of the "four Tang families"; Xue Yao, like him, is not only a famous hand for a while, but also opened Song Huizong's thin gold body; Yan Zhenqing also learned from him, and Yan Ti's regular script was based on Chu Suiliang's regular script.
Liu Xi assessment
There is such an evaluation of Chu Suiliang in the Outline of Books: "Chu Henan's books are the vast number of educators in the Tang Dynasty, Yan Pingyuan got his strength, and Xu Jihai and his followers got his meat." The word "educators" is enough to describe Chu Suiliang's unique position in the history of calligraphy in China.