Information about Zhang.

Wu Yun, a native of the Tang Dynasty, was a scholar, an official in dynasties, a collator and a doctor, and two kings of calligraphy. In his book tablet, Li is mostly a country name, and the higher the country name. In Yuan Dynasty's Shu Shu Fu Xia, Dou Meng wrote: "From Shen Jingtong, writing with a pen is closely related to words, and there is nothing to do recently. I hate that I don't have many calendars, and I am a widow when I listen. " Tang Lu, the general manager of the book review, said that from Shen Zhen and the running script, "beauty means distance, and it is beyond the river". Song Zhu Wenchang's "Continued Book" has the following books. Huang Bosi's "On the East View" in Song Dynasty says: "Although he learned Shen Shu from the right army (Wang Xizhi), his source was Da Ling (Wang Xianzhi), and his brushwork was the same as that of Li Beihai (Li Yong). The name should be worth it for a while, but it's too short to be true. But the Tang people have a golden rhyme, which is commendable. " Ming Xiangmu's "elegant calligraphy and upright character" refers to Shen Cong's "pen power is absolutely like Beihai". Feng Mingban's "Blunt Book" says: "Zhang Shu is so ancient that fools don't know its mystery." Liang Qing's "Book Review Post" said that Zhang "opened this big order, and the rate of this book was more (Ou Yangxun), but the book was more blunt, not as vigorous and soft as Beihai." In the Qing Dynasty, Zhu Luzhen's evaluation of his book under the volume "Introduction to Calligraphy" was "profound brushwork". Books handed down from ancient times include Li Monument, Wang Tombstone, Shen Lawyer Monument, Rebuilding Temple Monument, and Fuxing Temple Monument in Tongya Town. My brother learned it from the teacher, from the righteousness and from the contract. At that time, he was called "Zhang's Four Little Dragons" (see Zhang's entry in China Calligraphy Dictionary). Zhang's calligraphy inherited the calligraphy style of the right army, and Li Bei is the most famous in Zhang's calligraphy, which is very famous in Tang Dynasty, and its rubbings are rarely circulated. Look at the calligraphy of this tablet, the pen is sharp and vigorous, and the structure is preface to Wang Ji. The so-called "right army rules, write down."

Appreciation of works: Li Monument

Li (Zhang Shu) Monument, also known as Mr. Li Hanguang Monument, is the full name of Mr. Yang Guan Monument in Tang Maoshan. Dali seven years (772) on August 14th, Herry Liu, Zhang writing, Li Yin. This stone tablet was originally in Yuchenguan, Jurong, Jiangsu Province. Ming Shizong Jiajing was destroyed by fire in the third year (1529). It has been handed down for a long time, and the whole paper has not been seen. * * * The word is 835. The number of original stone tablets is unknown.

"Li Bei" records the practice of Li Hanguang, a Taoist priest in Benyang, Maoshan, in the Tang Dynasty. Li (683-769), whose real name is Hong, changed his surname to Li because he avoided the prince Li Hong. He is a descendant of Tao Hongjing, a Taoist immortal in Qing Dynasty, and was praised by Xuanzong. He was a famous Taoist priest with the largest number of followers in the ruling and opposition parties at that time. Li himself is also proficient in calligraphy. Yan Zhenqing said in "Li Bei" that he was "good at seal script, especially official script". By the Tang Dynasty, most people in Buddhism and Taoism were very proficient in calligraphy, which was necessary for copying scriptures and entertainment. Therefore, Buddhism and Taoism calligraphy is a magnificent sight, and there are many contacts with secular calligraphers. There are also Taoist good books, such as Lu Xuanqing, a Taoist priest in Taiqing Palace, and Quan Deyu's "The Book of Emperor Taizong Bofei Answers the Imperial Decree" said that "the work is an eight-point book of seal script, and it has its own family law." There is fish Xuan, Liang, and Volume 10 of Xuanhe says: "(Taoist fish Xuan) ICBC has Wang Xizhi's brushwork, but he is clear and does not fall into secular habits. He floats in the air and has a saint-like style. You can imagine him. " Five comments on the volume: "(Liang) Taoist priest traveled to Xihan Mo, and when he first came out of the wood, Wang opened the law, which was against the rules for a long time. However, its laws are strict, its spirit is relaxed, and its style is clear ... Looking at its book Tai Shang Lao Jing, it is a good thing to know that it is beyond your reach. " Li, Lu, Yu and Liang, although famous for thousands of years, won the admiration of future generations, but every paper and stone left in the world will eventually become a regret (see Zhu Guantian's History of Calligraphy in China? Sui, Tang and Five Dynasties Volume). We can only learn from Liu today. I went to see the splendor in Li Wenzhang.

Although the brushwork of this tablet is from the preface to the holy teachings, it is soft and concise. The so-called clean, short and long, seeking to put pen to paper, in order to get comfortable, appears rigorous and neat, Gu Zhuo vigorous, with the wonderful idea of "painting can be cut as clean as blonde hair and white as jade ruler" ("Qing Da Zhongguang Book Raft"). The body is slightly sparse and tortuous, while Jun Fang is round and soft, neat and beautiful, which is a legacy of Ou Yangxun. The first half of this monument is carefully written, and the second half has been released to make the opening and closing more exciting. Calligraphy in the Tang Dynasty was a period of great reorganization in brushwork, brushwork and physical structure, which redefined the complicated internal factors of calligraphy in the previous dynasty. Judging from the method of writing regular script, Ou Yangxun refined and sorted out the inscriptions from the aspects of font, brushwork and structure. Similarly, Zhang also did the same work on the preface to Wang Shengjiao from the perspective of running script, but it did not achieve special success. However, Yan Zhenqing transformed the running script from the seal method, created a new style, and finally reached another peak of running script in China. This can only be said that different calligraphers' knowledge and methods lead to different results.

The main records of this monument are: The Postscript of Ancient Books Arranged by Ouyang Xiu in Song Dynasty, The Catalogue of Ancient Books Arranged by Ouyang Yong, Huang's Outlook on the East, The Collection of Precious Stone Carvings, Li Guangying's Textual Research on the Stone Carvings Collected in Guanmiaozhai in Qing Dynasty, Yan Guan's Record of Jiangning Stone Carvings, Lv Fang's Correction of Dongzhou Stone Carvings, etc.

This rubbing is exquisite felt wax, and the paper and ink are ancient. It was collected by Mr. Zhu of Xiaoshan and donated to the Palace Museum by Mrs. Xianyou in 1953.

According to Wang Zhuanghong's "Essays on Supplementary School Monuments", the versions are as follows:

1. Wang Juesi of the Palace Museum in Beijing signed the rubbings of the Song Dynasty. (Actually, it's Yuantuo)

2. The rubbings of Song Dynasty collected by An Wuyun were inscribed by Zhang Zhao, Mao Huai, He, He Naizhao and Xu Naizhao.

Third, Zhang Shu didn't collect old books. This book was vacant, and it was a little late. There is a major bookstore and Shi Yinben.

Fourthly, the Commercial Press photocopied Qu's Collection of Old Song rubbings with Gong Zizhen's postscript. In addition, I heard that Shanghai Library has a collection, but I haven't seen it. (Photocopyed and published by Shanghai Ancient Books Publishing House)

5. 1935, Ouyang Futai, located in Gushan, Jiangxi Province, with the title "Jingtuo in Northern Song Dynasty".

[Note] The collection of Shanghai Library is Song Tuoben, with intact words and missing inscriptions. The seal of "Treasure of Stone", "Approval of Dingfu", "Yuezao", "Private Seal of Bingheng", "Seal of Yuan Chun", "Leave it for posterity" and "Uncle Pingyuan is a treasure". This 26-page book is 38.7 cm high and 24.8 cm wide. There are sixteen and a half inscriptions, the core is 27 cm high and 15.6 cm wide.