The preface to the sacred teachings of Yanta is written by Fiona Fang, which is the opposite; Horizontal painting is vertical, vertical painting is horizontal, there are ups and downs between the head and tail, and there are certain rules in lifting and returning.
Among the characteristics of Chu Suiliang's calligraphy, the whole calligraphy works are mostly arcs, and even short lines have a sigh mood. The extensive use of arcs adds softness and euphemism to the original straight and solid basic strokes. When Chu Suiliang began to write, he turned the pen upside down slightly, then pulled it back and turned the waves upside down. These pens make Chu Suiliang's calligraphy look lively, not limited to the original form.
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The preface to the sacred teachings of Yanta, also known as the preface to the sacred teachings of Qiongji, is a famous inscription in the history of calligraphy and a masterpiece of Chu Suiliang's regular script in the Tang Dynasty. In the 4th year of Yonghui in Tang Gaozong (AD 653), there were two stones and two stone tablets embedded in two brick niches on both sides of the south gate of the Big Wild Goose Pagoda. The writing directions of the two stone tablets and inscriptions are symmetrical to each other, and the two stone tablets are *** 1463.
The inscription is a preface, and its full name is Preface to Tang Sanzang. Located in the brick niche on the south side of the tower and the west side of the voucher door. Li Shimin wrote an inscription with 42 words in 2 1 line, which was carved from right to left. The lower tablet is the preface tablet, the full name of which is Preface to Three Monks in Tang Gaozong. It is located in a brick niche on the east side of the ticket gate in the south of the tower. Tang Gaozong Li Zhi wrote an article with 20 lines and 40 words, which was carved from left to right.