Yan Zhenqing, Liu Gongquan, Ou Yangxun and Yuan Zhao Mengfu were the four masters of regular script in Tang Dynasty.
First of all, calligraphy was in its heyday in the Tang Dynasty. When it comes to regular script, words must be called Yu, Ou, Chu and Yan. Yan Zhenqing is one of the great calligraphers with the most innovative spirit. Yan Zhenqing (709-785) was born in Jingzhao Wannian (now Xi, Shaanxi). He comes from a noble family and is the fifth grandson of Yan Shigu, a famous scholar. Yan Zhenqing is honest and clean, and is famous for his loyalty and loyalty in officialdom. He used to be a veteran of the four dynasties, and his career was ups and downs, and he didn't care. Later, I was ordered to recruit me from Huaixi to make Li Xilie and Li Xilie rebel and was killed by Li.
Yan Zhenqing's calligraphy originated from his own school, but its transformation was initiated by Wu Xu. Because he can choose one hundred schools at the same time, he can choose freely, leaving a lot of books and posts to show his skills. When Fan Wenlan, a historian, mentioned books in the Tang Dynasty in his works, he said that "Yan Zhenqing in the heyday of the Tang Dynasty was the creator of the new book style in the Tang Dynasty". Yan kaishu embodies a prosperous style and is magnificent; And his cursive script made Mi Fei in the Song Dynasty like the Four Books, because those book posts were often written in a state of extreme grief and indignation, and readers can appreciate the flavor from this article. Emotion is dissolved in art, and artistic talent breeds soul. Most excellent arts in history have not violated this standard.
Yan Zhenqing, a genius in the book world. For thousands of years, only Yan can be compared with Wang Xizhi, the sage of books, and stride forward in the world of books. Of course, Yan Zhenqing was crowned as the crown in the Tang Dynasty, and Yan Shu was also regarded as the grand marshal in the Song Dynasty. Since then, Yan Zhenqing's book soul has formed a huge force and accumulated into an important part of China's book soul. "The Biography of Yan Zhenqing in the New Tang Dynasty" praised: "Although it has been 1,500 years, its heroic words are awesome and admirable!" The heroic life of the sun and the moon is an inexhaustible source of watering his wonderful calligraphy.
Second: Liu Gongquan, who was 88 years old in the 13th year of Dali, Tang Daizong (AD 778) and the 6th year of Xian Tong, Tang Yizong (AD 865). Jingzhao Huayuan (now Yaoxian County, Shaanxi Province) was born. The palace is a prince, so the deceased called it "Liu". He began to learn from Wang Xizhi, the brushwork of Ou Yangxun and Yan Zhenqing, and then set up his own family. The regular script written is beautiful and strong. Compared with Yan Ti, Liuzi is slightly thinner, so it is called "Yan Liu Jin Gu". Mu Zong asked Liu Gongquan how to use a pen, and Gong Quan replied: "Use a pen in your heart, and your mind is right." "Mu Gong changed his face and remonstrated with his pen. In the Song Dynasty, Zhu Zai said: "The public power official book has the best operation mode, but the grass can't. "Its method is based on beauty, but it is rich and famous in the world." He began to learn Wang Xizhi's brushwork, and later read the modern calligraphy, so he tried his best to change the right army method, learn from Yan Zhenqing, and assimilate his new ideas, so that his calligraphy avoided the tendency of horizontal and vertical, adopted a balanced and thin and hard approach, and steadily chased Wei Bei, making his brushwork simply beautiful, vigorous and tight. Many scholars in later generations took Liu Zi as a model.
He was a 29-year-old scholar and served as a junior official in the local area. Later, Tang Muzong came across his handwriting. Once called to Chang 'an by the imperial court. Liu Gongquan was in his forties at that time. His character is both backbone and meticulous. Similarly, his handwriting also reveals this part of his characteristics. Because of this, his reputation and position in Chang 'an have been improved, and the general princes and nobles are scrambling to invite him with huge sums of money.
Calligraphy in the late Tang Dynasty experienced prosperity in the middle of the prosperous Tang Dynasty, but it also reached its peak and declined. Although Liu Gongquan's fame was popular for a while, he was still slightly better than Yan Shu. Calligraphy flourished in the Tang Dynasty, but now it has declined. Liu Gongquan's regular script involves Ou Yangxun's brushwork, and some strokes are often closely interspersed, which is particularly broad, fine and angular. Although the pen was written by Yan Zhenqing, it is different from Yan Zhenqing's vigorous and broad style, which is particularly heroic.
Liu Gongquan died at the age of eighty. He served seven emperors and finally died as the Prince of Shao Shi.
There are many books handed down from ancient times, among which Mysterious Tower, Shence Army Monument and Diamond Sutra are the most prominent.
1, Monument to the Shence Army: in regular script, established in the third year of Tang Huichang (AD 843). It is one of Liu Gongquan's representative works, which is more distinctive than the book style of Mysterious Tower, which is widely known in later generations. The structure is smooth and even, and the left side is tight and the right side is comfortable. It is also a good model for temporary writing.
2. The Diamond Sutra of Liu Shu: in regular script, in the reign of Tang Changqing (AD 824), engraved in April. The original stone was destroyed in the Song Dynasty. Tang Tuo, a stone chamber in Dunhuang, Gansu Province, was handed down from generation to generation, intact, and is now in the Paris Museum, France. Critics believe that the regular script Diamond Sutra is a masterpiece of Zhong (Yao), Wang (Xizhi), Ou (), Yu (Heather), Chu (Sui Liang) and Lu (Dong Zhi), which has high artistic value.
3. "Mysterious Pagoda": regular script. The first year of Tang Huichang (AD 84 1 year) was established in February, and the original monument is now Xi 'an stele forest in Shaanxi. This monument is the most famous book handed down from generation to generation. It is one of the most influential models in regular script.
A font between regular script and cursive script, which can be said to be cursive or cursive. It is to make up for the shortcomings of slow writing in regular script and illegible cursive script. The brushwork is not as sloppy as cursive script, and it is not required to be as correct as regular script. There are more methods of mold opening than cursive writing, which is called "mold opening". Cursive calligraphy is more than modular method, which is called "cursive calligraphy". Running script was produced in the late Eastern Han Dynasty.
The most famous masterpiece is Preface to Lanting written by Wang Xizhi, a calligrapher in the Eastern Jin Dynasty. Predecessors described it as "a dragon descending from heaven, a tiger lying in a phoenix pavilion" and praised it as "the best running script in the world". Tang Yan Zhenqing's book "Sacrificing a Nephew" is very bold, and the ancients rated it as "the second running script in the world". Running script with regular script or close to regular script is called "running script", and cursive script or close to cursive script is called "running script". The famous representative work in the running script is Lushan Temple Monument written by Li Yong in Tang Dynasty, which is fluent and rich. There are Su Shi, Huang Tingjian, Mi Fei and Cai Xiang in the Song Dynasty, Zhao Mengfu, Xian Yushu and Li Kang in the Yuan Dynasty, Zhu Yunming, Wen Zhiming, Dong Qichang and Wang Duo in the Ming Dynasty, and those in the Qing Dynasty. They are all good at running script or cursive script, and many works have been handed down from generation to generation.
Cursive script: a font produced for the convenience of writing. It began in the early Han Dynasty. At that time, it was "Cao Li", that is, scribbled official script, which gradually developed into a kind of "Cao Zhang" with artistic value. Before the Han Dynasty, Zhang Zhi changed "Cao Zhang" to "modern grass", and the character style was formed in one stroke. In the Tang Dynasty, Zhang Xu and Huai Su developed into "weeds", with continuous strokes and changeable glyphs.
The cursive scripts include Cao Zhang, Jin Cao and Crazy Grass. The cursive script is characterized by simple structure and continuous strokes. Cao Zhang originated in the Western Han Dynasty and flourished in the Eastern Han Dynasty. The font is in the form of official script, and the characters are different and correct each other. This grass originated in the late Eastern Han Dynasty, with diverse styles and beautiful brushwork. The sum of the present and the present is longer than this grass, and the present and the rest are also longer than this grass. Wild Grass, also known as Big Grass, has bold brushwork and continuous posture, such as Zhang Xu's Thousand Pieces of Broken Monuments and Four Ancient Poems in the Tang Dynasty, and Notes on the Autobiography of Monks in Huai Su. It is different from Sun's in words and characters, but it is lively and charming in brushwork. "Big grass" and "small grass" are symmetrical. Big grass is pure grass-based and difficult to identify. Zhang Xu and Huai Su are good at it, and their words are written in one stroke, sometimes out of line, but the context is constant. In Qing Dynasty, Feng Ban gave a lecture on cursive script in "Blunt Printing Book": learn from it, learn from it, learn from it, and learn from Zhang Xu as weeds, so it is better to learn from Huai Su. Huai Su's cursive script is easy to recognize, the handwriting is fine, and the relationship between words is clear and easy to put pen to paper. Zhang Xu's glyphs vary widely, often a number, and the momentum between them is constant, which is difficult to identify and forms a unique style. As mentioned in Han Yu's Preface to Giving People a Noble Mind, Zhang Xu's cursive script is "angry and embarrassed, sad and sorrowful, resentful and resentful, yearning, drunk and annoyed, unfair and moving in the heart, which is bound to be reflected in the cursive script", so it is difficult to learn from Zhang.
Li Shu's common brushwork is elegant with a pen, which is called Cao Li, and some are like Cao Zhang, which is related to his usual skill in writing Li Shu, so Cao Li can create a unique style. It is also a way to write performances.
"Breaking grass" is the most common among modern calligraphers. Its characteristic is the combination of strokes and strokes. Most of them have evolved into their own styles since ancient times. Wang Xizhi learned some from his calligraphy style, and Wang Duo took some from his calligraphy posts. Zhu Yunming, Sun and other famous artists learn from each other's strong points, and each has its own features, and they are free to play and unrestrained. This writing is similar to today's grass.
Cursive script is called "cursive script", and there are many ways of writing, that is, running script close to cursive script. The brushwork is relatively smooth. In the Qing Dynasty, Liu Xizai's Outline of Books said that there were "true line" and "careless line" in running scripts. The "true line" is similar to the real book and perpendicular to the truth, while the "grass line" is similar to the cursive script and converges to the grass. Zhang Huai in Tang Dynasty
"Book Theory" says: those who are true are called "true", and those who take grass are called "walking grass". So, there is this difference.
Zheng Banqiao's good six-and-a-half calligraphy is a font in calligraphy, a "hybrid" with many components. Zheng Banqiao combines seal script, official script and running script in one furnace, with eight points between them, so he calls himself "six-and-a-half-script method". In the Qing Dynasty, Jiang Shiquan praised Zheng Banqiao's calligraphy cloud: Banqiao wrote words like orchid, the waves were elegant and graceful, Banqiao wrote words like orchid, and the leaves were beautiful and beautiful. This means that Zheng Banqiao's official script is divided into six and a half volumes, and the brushwork is completed in the middle.
Song Si's On Calligraphy in the Ming Dynasty put forward the main points of "Twelve Techniques", namely: 1. Treat people sincerely, 2. Writing, 3. Use the wrist, 4. Integrity, 5. Copying, 6. Structure, 7. Fiona Fang, 8 years old. Density, 9. Late speed, 10. Proficient They all adopted the excellent theories of predecessors and collected them for learners to understand.