1. Wang Xizhi, whose calligraphy has reached the level of "unparalleled among all Guiyue people in ancient and modern times", is revered as the "Sage of Calligraphy" of his generation
. His calligraphy is good at Li, Cao, Kai, Xing and other styles. He studies the styles carefully, imitates them with his heart and hands, draws on the strengths of others, prepares various styles, and cultivates them in one furnace. He breaks away from the writing style of Han and Wei Dynasties and becomes his own style with far-reaching influence. The style is peaceful and natural, the writing style is euphemistic and subtle, and it is beautiful and healthy. His work "Preface to the Lanting Collection" is known as "the best running script in the world", and later generations commented: "Floating like a wandering cloud, as graceful as a startled snake."
2. Yan Zhenqing, a representative figure of calligraphy innovation in the mid-Tang Dynasty, has dignified and majestic regular script with grand momentum. The running script is vigorous and comfortable, and the charm
is flying. His calligraphy not only has the charm and rules of previous calligraphy styles, but is not bound by ancient methods. It breaks through the rigid rules of the early Tang Dynasty and becomes its own style, which is called "Yan style". The calligraphy style is full of muscles. The "Nephew Memorial Manuscript" written in mourning was later rated as "the second running script in the world".
3. Liu Gongquan’s calligraphy is tightly structured and his strokes are sharp and sharp, focusing on bone strength. His calligraphy style is charming and vigorous, which can be compared with Yan Zhenqing’s vigorous and graceful calligraphy style. Comparable to it, he was praised by later generations as Yan Jin Liu Gu. It has a great influence on the history of calligraphy. , later generations learned that regular script often "uses willow style to get started, and looks to show merit". He is the author of "Mysterious Tower Stele".
4. Wang Xianzhi was praised as "the phoenix dances in the elixir cave, and the dragon leaps in the clear spring. It is precise and skillful, coming from the mind and wisdom". He is also good at regular script, running script, cursive script and official script.
It is not limited to learning one discipline, but is able to connect all the schools, so it can create
He developed his own unique style and was known as the "Two Kings" together with his father Wang Xizhi.
5. Zhu Suiliang's characteristic is that he is good at integrating Yu and Ou's brushwork, with both square and round strokes, and smooth waves, which is more stretched than his predecessors.
The "Book Review of the Tang Dynasty" praised Chu Suiliang's calligraphy as "gold in the words, jade in the lines, gentle in rules, and beautiful in many ways". Mi Fu, a great calligrapher and painter in the Song Dynasty, praised him: "nine memorials and ten thousand works. Dancing, cranes and herons fill the courtyard, clanging jade and jade, graceful and graceful." This shows that Chu's font structure has a strong personality charm.
6. Zhong Yao is a master of calligraphy, drawing on the strengths of others and forming his own line of calligraphy. He is especially good at official script and regular script. The book is like a flying dragon playing in the sea, or a dancing crane traveling in the sky. Comments from later generations
His calligraphy was so enchanting and eight-pointed that he was called "Hu Fat, Zhongshou" together with the great calligrapher Hu Zhao. Together with Jin Wang Xizhi, he is also known as the "Zhongwang". Zhong Yao
's calligraphy is simple and elegant, with alternating font sizes and rigorous and meticulous overall layout. His comments in the past dynasties have achieved extremely high results.
7. Ouyang Xun, learned from Wang Xizhi and his son, and participated in the official law. He is strong and sharp, and sees danger in the ordinary, and sees elegance in the rules.
Posterity known as For "European body". His representative works in regular script include "Jiucheng Palace Liquan Ming", "Huangfu's Birthday Monument", "Huadu Temple Monument" and "Orchid Pavilion", and in running script include "Thousand-Character Essay in Running Script". Ouyang Xun's "Teaching Secrets", "On Using Brushwork", "Eight Secrets" and "Thirty-six Methods" are all summaries of his own experience in learning calligraphy, summarizing calligraphy formal skills and aesthetics such as calligraphy brush use, structure and composition. Requirements are the precious heritage of our country’s calligraphy theory.
8. Su Shi was good at running script and regular script. He was able to create his own ideas, and his writing style was rich and ups and downs, and he had an innocent and innocent interest. 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.
9. Huai Su, a leading cursive calligrapher in Chinese history. His cursive calligraphy is called "Kuaicao". His strokes are round and powerful, making the turns smooth and smooth. He is like another cursive calligrapher. Zhang Xu is as famous as Zhang Xu, and later generations are known as "Zhang Diansu Kuang" or "Dian Zhang Zuisu". His cursive works include "Self-narrative Post", "Eating Fish Post", "Bitter Bamboo Shoot Post", "Notre Dame Post", etc.
10. Mi Fu, Mi Fu is good at poetry and prose, is good at calligraphy and painting, and is good at identification. He is a calligrapher, painter, connoisseur, and collector. Mi Fu first studied under Ouyang Xun and Liu Gongquan. His calligraphy skills were tight and his strokes were straight and vigorous. Later, he studied under Wang Xizhi and Wang Xianzhi. His postures expanded and his strokes were thick and vigorous. He called himself a "brush calligrapher" and had very profound calligraphy skills. He was compared with Su Shi and Wang Xianzhi. Huang Tingjian and Cai Xiang are collectively known as the "Four Families of the Song Dynasty".
11. Huang Tingjian’s calligraphy draws on the strengths of many others. The structure is compact in the middle and wide on the outside. He uses the pen left and right vertically and horizontally, like swinging two oars. The biggest feature of his calligraphy is his emphasis on "rhyme" and his calm demeanor. It is sparse and clear, like a gentle breeze in the moonlight, and the charm of the calligraphy is high. Su's calligraphy emphasizes natural interest, Huang's calligraphy emphasizes charm; Huang's calligraphy emphasizes verticality in its structure. Together with Su Shi, he pushed the humanistic spirit of Song Dynasty calligraphy to its peak.
12. Yu Shinan’s writing style is round, soft on the outside and strong on the inside, with a sparse structure and graceful charm. It is said that Emperor Taizong of the Tang Dynasty studied calligraphy with Yu Shinan as his teacher. He is the author of "Confucius Temple Stele". The calligraphy on this stele is handsome and round, and the characters are slightly long and narrow, which makes them particularly beautiful. Horizontally and vertically, the strokes are stretched, creating a peaceful and elegant image. Huang Tingjian of the Song Dynasty wrote a poem praising: "The Zhenguan engraving in Yu Shu's temple can be purchased with a thousand taels of gold."
13. Zhang Zhi is good at cursive writing, distinguishing characters and separating strokes in ancient times. The grass method was changed to a new writing method that involves up and down and is full of changes. It was full of originality and had a great influence at the time, and was known as the Saint of Grass. The "one-stroke calligraphy" he created is "the body and momentum of the characters are made up of one stroke", "like flowing clouds and flowing water, pulling out the grass and connecting the trees, involving the upper and lower characters, or borrowing from the upper characters to become above the lower characters, with strange shapes and combinations, and both numbers and meanings." Bag".
14. Wen Zhengming, Wen Zhengming has various attainments in calligraphy in seal, official script, regular script, running script and cursive script. He is especially good at running script and small regular script. He is gentle and vigorous, rigorous in law and vivid in mood. Although it is not powerful and powerful, it has the style of Jin and Tang calligraphy and has its own certain style. The small regular script strokes are gentle and the rhythm is gentle, which is in harmony with his painting style. He is known as "the best in the Ming Dynasty".
15. Zhao Mengfu, his works are delicate, powerful and consistent, showing no sign of shrinking from progress. He is good at both calligraphy and painting, and is good at calligraphy and calligraphy in all styles. He is especially good at regular script and chapter cursive script. His large characters have the style of Huang Tingjian's brushwork, green and graceful, and good at both bone and rhyme. At that time, he paid equal attention to Zhu Yunming and Wang Chong.
16. Dong Qichang, a master of ancient Dharma, mastered all the "Six Body" and "Eight Dharma" under his hands. At that time, he was already "famous in foreign countries, and his short notes spread among the world and competed for it." Buy treasures." ("History of Ming Dynasty? Biography of Wenyuan"). Calligraphy is the most accomplished in cursive script. He uses the pen skillfully and can always maintain a straight edge. There are few clumsy or clumsy strokes in his works. He is also very particular about the use of ink, using dry, wet and thick light. His style is calm and natural. , quaint and peaceful.
17. Cai Yong, Emperor Ling ordered workers to repair the Hong Department (the place where the royal books were collected was called Hongdu in the Eastern Han Dynasty). The craftsmen used brooms to sweep white powder to write on the walls. Cai Yong was inspired by this and created "Fei Bai Shu". This style of calligraphy has white lines in the strokes, as if it were written with a dry pen. It is a unique style of calligraphy. When Zhang Huaiguan of the Tang Dynasty commented on Cai Yong's Fei Bai calligraphy in his "Book Break", he said, "The flying white is wonderful and unparalleled, and the combination of movement and movement is magical."
18. Zhang Xu, his calligraphy has the highest achievement 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. His cursive script, Li Bai's poetry, and Pei Min's sword dance are known as the "Three Wonders".
19. Zhiyong, the seventh grandson of Wang Xizhi, became a monk in his early years. His calligraphy style was greatly influenced by his family's laws. He practiced calligraphy very hard. It is said that he did not go downstairs for decades and eventually became a great calligrapher. At that time, there were so many callers that the wooden threshold of the temple was trampled through. The most famous is the elegant and handsome "Zhencao Qianziwen", which is regarded as the best model for learning cursive script.
20. Cai Xiang. Cai Xiang’s calligraphy is rich and dignified, simple and graceful, and is self-contained. Unrolling the scroll of Cai Xiang's calligraphy, I suddenly felt a spring breeze blowing on my face, full of beauty and elegance. His calligraphy was highly praised by people of his time during his lifetime and was extremely prestigious. His ink writings handed down from generation to generation include "Self-written Poems" and "Thanks for the Imperial Calligraphy".