The calligraphy posts of Yan, Liu, Ou and Zhao include Pagoda Monument by Yan Zhenqing, Diligence Monument, Xuanta Monument by Liu Gongquan, Shence Army Monument, Jiucheng Palace Li Quan Monument and Huadu Temple. "Danba Monument" and "Miao Yan Temple".
First, the color body
Why did Yan Zhenqing's calligraphy art have such a great influence on later generations that calligraphers in previous dynasties knew more about Yan Ti? This is because Yan Zhenqing is another calligrapher after Wang Xizhi in the Eastern Jin Dynasty.
Yan Zhenqing (AD 709-785), a native of Jingzhao Wannian (now Shaanxi An), was originally from Linyi, Shandong Province, and was later named the founding father of Luxian County, so he was called Yan Pingyuan or Yan. He came from a calligrapher's family and liked calligraphy since he was a child. According to legend, when I was a teenager, my family was poor and I couldn't afford pen and ink. He often practices calligraphy on the wall with loess mud, or on the back of a crane with a broken tibia, and so on. At first, he studied with Chu Suiliang in Tang Dynasty, and later with Zhang Xu, creating a graceful and magnificent "face".
When you study the inkstone body, you should first try to figure out its brushwork and structure. He writes regular script with the brushwork of seal script, which is rich and full. When writing a hook, stop writing first, and then pick it obliquely to the upper left to make it sharp; When writing, spread it straight down, pause for a while when lifting the pen, and then kick it quickly. This kind of writing hook and writing stick is what the world calls "iron painting silver hook".
The face looks horizontal and vertical, but it also changes. Its horizontal pen is generally thinner, vertical pen is thicker, and vertical painting is "winding". Due to the changes in the thickness and slight curvature of the pen and ink, the seemingly rigorous characters appear lively, profound and vigorous. Therefore, Su Shi, a great poet and calligrapher in the Song Dynasty, once praised: "Painting in Wu Daozi, writing in Ouyang Xiu and writing in Yan, the world can only be perfect!" Bao, a calligrapher in the Qing Dynasty, praised: "The plain is like an ox, stable and beneficial to the people." That's about it. Until today, most people still face Emperor Yan, and most of them write plaques with Emperor Yan, thinking that the plaques written with Emperor Yan are eye-catching and stand up.
Yan Ti, in addition to the regular script "Duobaota Monument" and "Diligence Monument", is also his masterpiece, such as Ode to Zhongxing in Datang and The Story of Magu Xiantan.
Second, Liu Ti.
Like Yan Zhenqing's calligraphy, Liu Gongquan, an outstanding calligrapher in the late Tang Dynasty, has always been a textbook for beginners to learn regular script. The world calls it "Yan Gu" and learns from Yan Biliu.
Liu Gongquan (778-865 AD) was born in Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). He is knowledgeable, versatile, honest, practical and cursive, especially in regular script. He began to study the calligraphy of Wang Xizhi and Wang Xianzhi, and then studied the brushwork of famous calligraphers since Sui and Tang Dynasties. In particular, he changed Ou Yangxun's structure and Yan Zhenqing's brushwork, making his calligraphy rigorous, generous, open, vigorous and varied. He is another great calligrapher who is good at innovation after Yan Zhenqing. According to legend, most officials at that time begged him to write tombstones and epitaphs, otherwise he would be dismissed as a black sheep. "Going abroad to pay tribute" should also prepare money to buy his calligraphy. Even the plaque of the Tang and Zhao Temple in Nara was written in Liu Ti. This shows the great influence of Liu Ti.
Yan Gu. To learn from Liu Ti, it is not to write his words in a dry and detailed way, but to give consideration to his words "tight inside and loose outside, rigorous and sparse, vigorous and vigorous, vigorous and powerful" and "combine and open". Therefore, Dong Qichang, a calligrapher in the Ming Dynasty, said: "It is a shortcut to learn Liu Ti first."
Third, European institutions.
Because Ou Yangxun's calligraphy in the early Tang Dynasty absorbed the essence of predecessors, it was vigorous and rigorous, and was known as "the first regular script in the world".
Ou Yangxun (AD 557-64 1) was born in Linxiang, Tanzhou (now Changsha, Hunan). He was a doctor in the Sui Dynasty. In the Tang Dynasty, he was promoted to Prince Geng Ling, Bachelor of Hong Wen Pavilion and Bohai Duke. Because he is good at calligraphy, Biography of Tang Dynasty says that he was "Wang Xizhi at first, then bold and dangerous, because of his own name", and he is also called the four great calligraphers in the early Tang Dynasty with Yu Shinan, Chu Suiliang and Xue Ji. Ou Ti is a model of learning books in past dynasties.
Ou Yangxun's Inscription of Liquan in Jiuchenggong occupies a very important position in the history of calligraphy in China. This was written at the age of 75 in his later years. His pen is exquisite, rigorous and graceful, and his artistic level has reached the peak of European calligraphy.
On the surface, European-style figures vary in size and are relatively square, but after careful observation, there are many changes. No matter how long or how inclined they are, they are calm and have no sense of floating, which is what people often say is not mediocre and immature. Most of his horizontal and vertical strokes are Fang Bi, with a round pen between the left and right strokes, a hook-shaped brushwork in official script, and a circle in the corner. His strokes and characters are more regular, making the font square and uniform. Because he used the brushwork of Li, seal and tablet in regular script, his regular script stippling is vivid, although steep, but neatly arranged, which also has great influence on future generations. If we compare Liu sports with European sports, we can also see the influence of European sports on Liu sports.
Fourth, Zhao Ti.
Zhao Meng, a calligrapher in Yuan Dynasty? His calligraphy is graceful, graceful, fluent, elegant and well-proportioned, without affectation, madness and mystery, and is called "Zhao Ti".
Zhao Meng? (A.D. 1254- 1322) was born in Huzhou (now Xing Wu, Zhejiang). He is the 1 1 grandson of Song Taizu. He was clever since he was a child, and he knew everything about poetry, calligraphy, painting and seal cutting. His calligraphy attainments are very high, especially running script and regular script.
In calligraphy, he first learned from Song Gaozu and Zhang Jizhi, then from Tang Dynasty, especially from Wang Xizhi and Wang Xianzhi, and copied them repeatedly, sometimes hundreds of times. Legend has it that he can write thousands of words a day; Others say that for 500 years, no one can match it.
What distinguishes Zhao Ti from Yan, Liu and Ou Ti is that he writes regular script with lines, which makes his regular script more beautiful, gentle and dignified than other regular scripts.
Danbabel and Miao Yan Temple are Zhao Meng? The representative work of regular script, every word is square and precise, and the stippling is round, taking care of each other. In particular, his pen is very stretched, revealing an innate handsome strength, which is rare in previous regular script. No wonder people think that he is a great calligrapher.