In the early Song Dynasty, Li Jianzhong wrote Ouyang Xunfa, which was powerful and honest. The calligraphy of the calligraphy of the Song Dynasty was gradually formed with distinctive characteristics of the times. There are relatively few calligraphy inks of Li Jianzhong that have been handed down to this day, among which "Tumu Tie" hidden in the National Palace Museum in Taipei is the most famous.
Li Jianzhong (945-1013), whose courtesy name was Dezhong, was named Yanfu Minbo. A native of Jingzhao (now Xi'an, Shaanxi Province). Calligrapher of the Northern Song Dynasty. He once served as Dr. Taichang, Yuanwai Lang of the Jin Ministry, Lang Zhong of the Ministry of Industry, and Yushitai of Xijing Liusi. Known as "Li Xitai". There are relatively few calligraphy inks of Li Jianzhong that have been handed down to this day.
Li Jianzhong experienced several periods in his life, including the Five Dynasties and the Song Dynasty. He is a connecting figure in the history of calligraphy. Although in the early Song Dynasty, his calligraphy was not far away from the Tang Dynasty, it still had the lingering style of the Tang Dynasty, reaching its peak in the transition period from the Five Dynasties to the Song Dynasty.
Li Jianzhong has three calligraphy works: "Tu Mu Tie", "Guizhai Tie", "Tong Nian Tie" and "Tu Mu Tie", written in cursive ink on paper. 31.2 cm long, 44.4 cm wide, 10 lines, 104 characters. Later there were postscripts by Xiao Yingao, Wang Yanshi, Wang Cheng and others.
Li Jianzhong’s ink writings are rarely handed down from generation to generation. “Tumu Tie” is the most typical and regular among the surviving ink writings of Li Jianzhong. Therefore, it is also the best example of his profound calligraphy skills, so this post is quite popular. Cherish it for future generations.
"Coral Outline", "Examination of Calligraphy and Painting", "Mo Yuan Hui Guan", and "Continuation of Shiqu Baoji". Collection of the National Palace Museum, Taipei. This post is one of the "Six Posts of Xitai" handed down from generation to generation. The writing style of this calligraphy is steady, the method is rigorous, the charm of Ouyang Shui is more powerful, and the structure is honest and rigorous. Commentators believe that this calligraphy is clear, elegant, mature, and full of freedom, which is worthy of the "two kings" brushwork.