1. Wang Xizhi (303-361, 321-379)
To invest in Wang Xizhi’s calligraphy, you must study the history of calligraphy and compare his calligraphy with the calligraphy of the Han Dynasty and the Western Jin Dynasty. You can find that The most obvious feature of Wang Xizhi's calligraphy style is his delicate brushwork and changeable structure.
Wang Xizhi’s greatest achievement was to add to and detract from ancient methods and transform the simple calligraphy style of Han and Wei dynasties into a calligraphy style with exquisite brushwork and beautiful style. The cursive script is thick and delicate, the main script is clever and dense, and the running script is vigorous and natural. In short, it brings Chinese character writing from practicality to a realm that pays attention to technique and taste.
His cursive script is respected by the world as the "Sage of Grass". No original remains exist, but there are many engravings of Dharma books. There are Zhangcao "Bao Nu Tie", "Seventeen Days Tie", "Han Qie Tie", small regular script "Huang Ting Jing", "Le Yi Lun" and "Dongfang Shuo's Painting Praise". Wang Xizhi's handwritten ink can give you a profound understanding of the four words "wonderful".
2. Wang Xianzhi (344-386)
Collection and appraisal of Wang Xianzhi’s calligraphy can be compared with Wang Xizhi’s. Both father and son have their own merits in calligraphy. able. The most innovative and valuable thing about "Two Kings" is its beautiful and elegant cursive script. Wang Xianzhi was not constrained by his father, he innovated new methods, was handsome and heroic, and formed a family of his own, which was impressive. Unfortunately, God was jealous of his talent, and he died prematurely at the age of 42.
Wang Xianzhi has a chapter-cursive "Tie on July 2nd", and his small regular script is represented by "Thirteen Lines of Luo Shen Fu", which is extended with a pen, and the structure is well-proportioned and neat, like a lady, with a charming and graceful posture. His most famous running script is "Yatou Wan Tie".
3. Zhang Xu (675-750?)
Zhang Xu’s calligraphy is most accomplished in cursive script. He himself is proud to inherit the tradition of the "Two Kings", and his every word is legal. On the other hand, he imitates Zhang Zhi's cursive calligraphy skills and creates wild cursive calligraphy that is free and upright and unpredictable, and its appearance is shocking to the world.
The Liaoning Provincial Museum has an ink copy of "Four Ancient Poems in Cursive Script", which is said to be Zhang Xu's wild cursive work. The strokes throughout the text are full and there are no weak or slippery strokes. The writing is ups and downs, intertwined with movement and stillness, and the paper is filled with clouds of smoke. It is truly the pinnacle of cursive writing.
4. Yan Zhenqing (709-785)
Yan Zhenqing’s regular script went against the calligraphy style of the early Tang Dynasty. He used seal script to transform the thin and hard style into plump and powerful, with a broad and imposing structure. Magnificent, powerful and awe-inspiring, this style also reflects the prosperous style of the Tang Dynasty and is consistent with his noble personality. It is an example of the perfect combination of the beauty of calligraphy and the beauty of personality.
His calligraphy style is called "Yan style", and together with Liu Gongquan, he is called "Yan Liu", and he is known as "Yan Jin Liu Gu". His regular script has influenced the past and present, and his ink writings handed down from generation to generation include "Manuscript of Memorials to My Nephew", "Liu Zhong's Envoy's Note", "Self-written Letter to the Body", etc. Powerful and heroic, it is a picture of the prosperous Tang Dynasty. Especially the "Manuscript of Memorial to My Nephew", the original copy of which is stored in the National Palace Museum in Taiwan. The writing is solemn and solemn yet full of energy, the writing style is round and majestic, and the gestures are full of movement. It is written purely with spirit, and it captures the beauty of nature.
Yan Zhenqing has a large number of handed down writings, which deserve the attention of collectors and investors. There may be new discoveries among the people, but they must be carefully identified for forgeries.
5. Huaisu (737 AD -?)
When investing in Huaisu's calligraphy works, you must understand that not all his styles are the same, and they can be roughly divided into three types: First, Those that have not yet completely gotten rid of the style of their predecessors: such as Notre Dame, Shiyu, Kuxun, Zangzhen and Zhutie, retain many Jin methods, and many of Notre Dame's Tie are in the style of Yan Zhenqing. The second is his unique works, such as "The Purity Sutra", "The Sutra of Forty-two Chapters", and "Zi Xu Tie" (which can be called the standard Huai Su book). The third is to follow the calm and indifferent style of writing, which is very different from his wild and wild style. It has completely changed his appearance, which can be said to be his outstanding feature.
When identifying, you can also refer to the records about the elements in the Tang Dynasty documents, such as: "The pen is moved quickly, like a sudden rain and whirlwind, flying and turning, changing at will, and the rules are there."
Huaisu's wild grass is ever-changing, and the writing is continuous and vigorous, yet it does not depart from the laws of the Wei and Jin Dynasties. Such as "Self-narrative Post", "Eating Fish Post", "Bitter Bamboo Shoot Post". He is on par with Zhang Xu, and together they are known as "Bian Zhang Kuang Su". His "Notre Dame Tie" and "Thousand-Character Essay on Xiaocao" are both Chong and Yongya, and still have some Zhangcao meaning, and we can get a glimpse of the source of the changes in his cursive methods.
6. Su Shi (1037-1101)
To identify the characteristics of Su Shi's calligraphy, two points should be grasped: first, the brush is used more sideways, and second, the structure is flat and slightly fat.
This is also closely related to the posture in which he holds the pen. Su Shi wrote as a "lying pen", that is, the brush lies on its side between the tiger's mouth, which is similar to the current posture of holding a pen. Therefore, his characters are slanted to the right, flat and fat. His representative works include " "Huangzhou Cold Food Poems", "New Year's Celebration Posts", etc.
Most of Su Shi's calligraphy is quite plain and simple; although the appearance of low left and high right and the relatively neat organization are from Li Beihai, a vast and majestic atmosphere is his personal characteristic. , just like his profound knowledge. Shenlong's changes are unpredictable. The "Huangzhou Cold Food Poems" he occasionally showed his handwriting was already earth-shattering. The pen and ink color used in calligraphy also changed with the changes in the context of the poems, with ups and downs. The momentum was extraordinary and coherent, reaching the point of " Heart and hand are in harmony", an almost perfect state.
Huang Tingjian divided Su Shi's calligraphy into three periods: early, middle and late: charming in his early years, round and energetic in his middle years, and calm in his later years.
His representative works include "Dark Clouds in the Sky", "Spring Colors in Dongting", "Zhongshan Song Miao", "Spring Posts", "Wine Love Poems", "Cold Food Poems", "Sichuan Poems" ", "The Drunkard's Pavilion", etc.
7. Huang Tingjian (1045-1105)
8. Mi Fu (1051-1107)
9. Cai Xiang (1012-1067)
10. Zhao Ji (1082-1135)
11. Zhao Mengfu (1254-1322)
12. Wen Zhengming (1470-1559)
13. Dong Qichang (1555-1636)
14. Zhu Yunming (1460-1526)
15. Xu Wei
16. Wang Duo (1592-1652)
17. Zhu Da (1626-1705)
18. Jin Nong (1687-1764)
19. Deng Shiru (1743-1805)
20. Weng Tongsu (1830-1904)