Appreciation of Sun Jingfu's Temple Fu Works in Tang Dynasty

Judging from the calligraphy style of Fu Juan written by Sun Jingfu Temple, it has distanced itself from the "respecting the law" of the Tang people. Sun's exposition in Shu Pu is that "grass is not true at the same time, but close to specialization; I really don't know anything about grass, and I'm really not Han za. Really take stippling as the form and turn it into affection; Grass takes stippling as emotion and turns it into shape, which is quite in line with the interest of calligraphy in this volume. The typical feature of this volume is that stippling is natural and changeable, making it flexible and calm. From the axial direction of the work, this volume can be said to be very upright. This is its "beginner distribution, but seeking integrity; Knowing that justice is right, we must pursue danger; Whether we can return to the realm of "righteousness" after "danger" from the suffix of this volume to the popular spirit is an artistic character of "meeting time has passed, people and books are old". Cursive calligraphy pays more attention to dynamic power in creation, and it is completed through the infiltration and guidance of popular spirit. The small spacing and large spacing of this scroll are to make the strokes more coherent and the overall tension better reflected and germinated. The difference between the composition of this volume and the cursive scripts of later generations such as Ming and Qing Dynasties lies in: creating a "dynamic harmony and balance" in the spatial division of black and white, so that local movements eventually form a whole stillness, and can be freely retracted in this movement and stillness, while in the atmosphere, cursive scripts of later generations such as Ming and Qing Dynasties are a vertical trend; While maintaining the vertical trend, this volume also has the trend of horizontal coherence, which embodies the legacy of ancient law in Wei and Jin Dynasties. This work, whether it is relied on by later generations or temporary work, can interpret Sun's calligraphy aesthetics to such an extent, and it is also a distinct realm of "covering the volume clearly, writing without procrastination"! This volume was selected by Dong Qichang in Ming Dynasty, and there are 20 lines carved in Xihongtang Post, all of which were carved in Qianlong period of Qing Dynasty.