What two kinds of books is Huang Tingjian good at writing?

Huang Tingjian's calligraphy was first learned by Zhou Yue in Song Dynasty. Later, influenced by Yan Zhenqing, Huai Su, Yang Ningshi and others, and inspired by the style of Yi He Ming by Jiao Shan, Huang Tingjian developed his own cursive style. Huang Tingjian's big-character running script is concise and powerful, and its structure is peculiar. Almost every word has some exaggerated long paintings, and he tried his best to send them out, forming a brand-new method of combining Chinese palaces and diverging on all sides, which had a great influence on later generations. The structure is obviously influenced by Huai Su, but the rhythm is completely different from that of Huai Su. Before him, roundness and fluency were the keynote of cursive script, while Huang Tingjian's cursive script was extremely dangerous in word structure and creative in composition. He often breaks the boundaries between words by shifting, making lines form new combinations and the rhythm changes strongly. Therefore, it has a special charm and has become an outstanding representative of calligraphy in the Northern Song Dynasty. Together with Su Shi, it has become the pioneer of a generation of calligraphy style. The so-called more artistic calligraphy in Song Dynasty by later generations is to change the style and structure of calligraphy and pursue the artistic conception and interest of calligraphy. Huang Tingjian, Su Shi, Mi Fei and Cai Xiang are called Song Sijia.

Huang Tingjian has made some important comments on the art of calligraphy, most of which are scattered in The Valley Collection. He opposed to living on one's laurels, emphasized the spiritual inheritance of excellent traditions and the creation of individuality; Pay attention to the influence of mind and temperament on calligraphy creation; In style, he opposes originality and emphasizes clumsiness. These ideas can be confirmed by his creation.

Huang Tingjian's calligraphy is popular, and Xiao Zhuan's calligraphy is represented by Fang's epitaph, Wang's epitaph and Shi Yizheng's epitaph in Lunan. Calligraphy is fluent and elegant. There are Su Shi's Poems on Cold Food in Huangzhou, Fu Bo Temple and Song Fengge Poems. , are vigorous and calm, showing the characteristics of yellow books. Cursive scripts include Li Bai's Memories of Time Past, Zhu Shangtie and so on. With gorgeous words and elegant brushwork. While inheriting Huai Su's cursive script, it also shows the uniqueness of Huangshu. In addition, Huang Tingjian's calligraphy works include Tombstone of Boyi Shu Qi, Gongbei of the Ground Beam, Poems of Qingyuan Mountain, Longwang Temple, Ode to the Queen in the Title, etc.

As Feng Ban's "Miscellaneous Notes on Dull Songs" said: "The pen starts from painting and returns to the left wrist. When it is actually painted to the right, it leaps up again, like a cloud in the wind." He began to write from right to left, from the hidden front in the painting to the left pen, and then spread it out flat. There was no flat or evil, and the pen front was deliberately changed, and the pen front was hidden and clever, giving people the feeling of "painting bamboo as a book". Its structure comes from the news of Yan's Baguan Pavilion. The middle palace tightens, radiates outward from the center, and stretches horizontally, such as boating and supporting a boat. It is full of verve and momentum, and its personality characteristics are very obvious.

There are 46 lines of poems, running script, ink and paper in Jingfubo Temple, each line has different words, * * * 477 words. The first traces are now in Japan. This poem post, dozens of lines, is easy to write, accurate in pen and ink, broad in momentum and stretched in structure. Fan Chengda commented that "the calligraphy of the valley in his later years is great, so there is no resentment in the post, and the heart and hand are one, and the pen and ink are as desired." This post is a sober and thoughtful work, which has the characteristics of Huang Tingjian's calligraphy art and is the representative work of Huang Tingjian in his later years.