This work is a rare cooperative sketch in Liang Kuan's works, and it is the representative work of his early book style. The style of this book is Zen, naive and simple, and the text is plain, close to the taste of Cao Zhang. There are often large gaps between the lines, which are not as smooth as in old age, but also quite charming.
? Liang Kuan, a Japanese poet, China poet and calligrapher in the late Edo period, has one of the most famous views: he disliked calligraphers' words, chefs' dishes and poets' poems the most in his life. The "work" of these three kinds of people is probably too limited to their own technical level. To achieve perfection at this level always makes people doubt the dazzling technology! It's not a big realm. The broad realm is more like jumping out of the "work" level, but it is lively and splashing.
Most people may be most impressed by Liang Kuan's "Strong Wind in the Sky". It was when he flew kites with the children. The children invited Liang Kuan to write on their kites, and Liang Kuan wrote a world-famous work.
? Liang Kuan is the children's favorite good friend. He often plays games, hides the door and hides it. Liang Kuan is a ghost cloud:' Is it okay?' The children waited wholeheartedly and went home at dusk. After a night, Liang Kuan was still waiting at dawn. One day, when Liang Kuan disappeared, all the children went back. The man who came back from the field saw Liang Kuan hiding in the haystack and asked, "Oh! What is the old monk doing here so late? Scold! Shake hands to stop everyone,' I'm going to be discovered by ghosts! "Visible its beautiful childlike innocence.
? He was indifferent to praise and criticism all his life. Often use calligraphy to do Buddhism. His poems have the charm of Sanzang's cloth bag, the style of Wanye Song, and the book style is quite elegant, which is appreciated by the world. He is the author of a collection of poems and songs.
Liang Kuan lived in a grass temple all his life, begging for food, lonely, poor and comfortable. Good endurance, relaxed knees, and no change in fun. Xie, a good friend of Liang Kuan, said in "The Mysteries of the Zen Master in Liang Kuan": "When you talk to your teacher, you will feel very clean. The teacher makes a fire in the kitchen or meditates in the main hall without talking about internal and external classics to persuade goodness. His writing does not involve poetry, it is not as good as morality, you can't describe it, it's just moralization. "
? Liang Kuan learned the cursive script of Erwang, Huai Su and Huang Tingjian, as well as "Autumn Pose" by Feng Dao of Xiao Ye. At the same time, he gained the essence of Japanese pseudonym calligraphy. As far as cursive writing is concerned, especially influenced by Huai Su, its line is closer to "self-narrative posts", more wanton, and more wonderful is the perfect combination with pen name calligraphy! His regular script was more influenced by the two kings and Europe, adding Zen and naivety, which had a deep influence on several people studying in Japan during the Republic of China, such as Xie Wuliang and Master Hongyi.