The Four Masters of Regular Script
The Four Masters of Regular Script are the collective name for the four calligraphers who are famous for their regular script in the history of calligraphy. They are also called the Four Great Regular Scripts. They respectively refer to: Ouyang Xun (Ou Ti) of the Tang Dynasty, Yan Zhenqing (Yan Ti) of the Tang Dynasty, Liu Gongquan (Liu Ti) of the Tang Dynasty, and Zhao Mengfu (Zhao Ti) of the Yuan Dynasty.
The Four Masters of Regular Script are the collective name for the four calligraphers who are famous for their regular script in the history of calligraphy. Also known as the four major regular scripts and the four styles of regular script, they are: Ouyang Xun in the early Tang Dynasty, Yan Zhenqing in the prosperous Tang Dynasty, Liu Gongquan in the Tang Dynasty, and Zhao Mengfu in the Yuan Dynasty.
1. Ouyang Xun (557-641), courtesy name Xinben, was born in Linxiang, Tanzhou (now Changsha, Hunan). His greatest achievements in calligraphy are regular script, with strong penmanship and unique structure. Later generations called him "European style".
Ouyang Xun of the Tang Dynasty: His regular calligraphy is rigorous and his writing power is fierce. He is known as "the best regular script among the Tang people" in the world. His representative work is "Jiucheng Palace Liquan Ming".
2. Yan Zhenqing, (709--785), named Qingchen, was born in Jingzhao ten thousand years ago, and his ancestral home is Linyi, Tang Langya (now Linyi, Shandong). In the history of calligraphy, he is the most accomplished and influential calligrapher after the two kings. His calligraphy was first studied by Zhang Xu, the "Grass Sage", who was one of the four masters of the early Tang Dynasty. Later, he adopted the ancient method and reversed the calligraphy style of the early Tang Dynasty. He used the seal script to transform thin and hard into plump and powerful, with a broad and magnificent structure. , with strong bones and majestic spirit, this style also reflects the prosperous demeanor of the Tang Dynasty and fits with his noble personality. It is a perfect example of the perfect combination of the beauty of calligraphy and the beauty of personality.
Yan Zhenqing (Yan style) of the Tang Dynasty: His regular script is dignified and majestic, with an open momentum, and is known as "Yan style" in the world. His representative works include "Yan Qin Li Stele", "Yan Family Temple Stele", "Duobao Pagoda Stele", "Nephew Memorial Manuscript" and "Yan Zhenqing". "Magu Immortal Altar".
3. Liu Gongquan (778-865), courtesy name Chengxuan, was a native of Jingzhaohua in the Tang Dynasty. He rose to the rank of crown prince and grand master, and was known as "Liu Shaoshi" in the world. Later generations called them "Yan Jin Liu Gu" and became the model of calligraphy in the past dynasties. His calligraphy is strong, precise and meticulous. In terms of the characteristics of the characters, they are famous for their thinness and strength. The regular scripts they write have strong and charming postures and strong bones. The running script and regular script are the most exquisite.
Liu Gongquan (Liu style) of the Tang Dynasty: His regular script is clear and strong, rigorous in structure, exquisite in writing, and straight and straight. He is known as "Liu style" in the world. His representative works are "Mysterious Tower Stele" and "Shence Army". monument".
4. Zhao Mengfu (1254-1322), courtesy name Zi'ang, also known as Songxue, was a Songxue Taoist and a native of Huzhou (now Wuxing, Zhejiang). He was good at seal script, official script, Zhen script, Xing script, and cursive script, and was especially famous for his regular script and running script. According to the "History of the Yuan Dynasty," "Meng Fu's seal script, official script, Zhen script, and cursive script are all the best in ancient and modern times, so he is famous all over the world for his books." "Zi'ang's Seal Script" by Yushu of the Yuan Dynasty said: "Zi'ang's seal script, Li, Zhen, Xing and Biancao are the best in the contemporary era, and his small regular script is the first among all Zi'ang's books." His calligraphy style is charming, elegant and coherent. Strict and neat, with sophisticated brushwork, it is known as "Zhao style" in the world.
Zhao Mengfu of the Yuan Dynasty: His regular script is round and delicate, upright and rigorous, without losing the elegance and elegance of his running script. He is known as "Zhao Style" in the world. His representative work is "Xuanmiao Temple Rebuilding the Three Gates". [1]
Edit this paragraph 1) Brief introduction of Ouyang Xun
Ouyang Xun, courtesy name Xinben, was born in Linxiang, Tanzhou (now Changsha, Hunan), a famous calligrapher in the Tang Dynasty. He once served as Prince Shugengling, so people called him "Ouyang Shugeng". In the Sui Dynasty, Ouyang Xun's calligraphy enjoyed a high reputation. In the Tang Dynasty, Ouyang Xun, who was nearly seventy years old, was still teaching calligraphy at the "Hongwen Museum". Ouyang Xun studied Wang Xizhi's calligraphy in his early years. It is said that he paid a lot of money to buy the "Zhigui Tu" used by Wang Xizhi to teach his children to practice calligraphy, and he copied and studied it day and night. Another time when he went out with Yu Shinan, he saw a stele written by Suo Jing, a calligrapher of the Jin Dynasty. He sat on the ground and carefully observed, traced and studied next to the stele for three days. This shows Ouyang Xun's deep interest in calligraphy. Later, he extensively studied the tablets and stone carvings of the Northern Dynasties, and at the same time absorbed the strengths of some local calligraphers, and then integrated them into the official script style to form the "European style" (also known as "Lugeng style") that is "strong, dangerous, and strict in laws". .
Style Characteristics
Ouyang Xun's calligraphy combines the characteristics of Han Li and Jin Dynasty regular scripts, and also incorporates the six dynasties' inscriptions. It can be said that he draws on the strengths of each calligraphy school. The main characteristics of Ouyang Xun's calligraphy style are rigorous and neat, upright and vigorous.
Although the font is slightly longer, the intervals are white, neat and rigorous, the middle palace is tight, and the main stroke is elongated, which makes it appear vigorous and unrestrained, sparse and dense, all sides are well prepared, eight sides are exquisite, the charm is vivid and just right. The combination of stipples and the structural arrangement are flat in the middle but steep and strong. Most of the fonts expand to the right, but the center of gravity is still very stable, without any sense of tilt or tilt, and it has the interest of combining danger with uprightness.
Most of Ouyang Xun's regular script stele editions are in Chinese regular script, including the "Inscription on the Pagoda of Zen Master Yong in Huadu Temple", "The Inscription on the Monument of Yu Gonggong Wen Yanbo", "The Inscription on Huangfu's Birthday", and "The Inscription on Liquan of Jiucheng Palace", etc.
Characteristics of his calligraphy
Ouyang Xun's calligraphy style is square, slightly official, strong and meticulous. Bao Shichen of the Qing Dynasty once said: "The fingering method of the European character is deep and solid, the force is penetrating to the end, and it is full of all directions, not to mention external force." That is to say, the European character emphasizes the fingering force, and the strokes written are strong and powerful, with inner strength, and are not excessive. It's lean but not too plump. Each stroke is one point too long, one point too short, and one point too short. The weight is appropriate, the length is appropriate, and just right. The use of European characters also pays attention to the strength in the middle of the strokes. Some horizontal strokes look full in the middle, giving a sense of "center and solidity"; the main strokes of some characters extend outwards, making the middle of the stroke more compact, especially the vertical strokes on the right half. , often exaggeratedly extended upward to show his superhuman courage. These are the unique features of European calligraphy pens.
Representative Works
"Jiucheng Palace Liquan Inscription" is one of Ouyang Xun's representative works. The inscription was written by Wei Zheng and records the discovery of a gushing spring by Emperor Taizong of the Tang Dynasty when he was vacationing in Jiucheng Palace. Ouyang Xun received the imperial edict.
The calligraphy of this stele is noble and solemn, with strict rules. The strokes are like squares and circles. The structure is carefully arranged. , not a single stroke is loose. Chen Jiru of the Ming Dynasty once said: "This post is like a person in the mountains. He is thin, hard and cold, but full of energy. He can make princes bend their knees, and it is impossible to do it without other inscriptions."
Original stele 24 lines, 1108 Due to age and weathering, as well as too many vertebra extensions, the calligraphy was severely damaged. Later generations had to dig and repair it, so that the sharpness of the strokes was completely lost. The best rubbings handed down from generation to generation are the Song rubbings collected by Li Qi from the Ming Dynasty and now in the Palace Museum in Beijing. [1]
Edit this paragraph 2) Yan Zhenqing’s character profile
Yan Zhenqing (709-785) was a native of Langxie Linyi (Shandong Linyi). The courtesy name is Qingchen. Yan Zhenqing is a representative figure of calligraphy innovation in the mid-Tang Dynasty. His regular script is dignified and majestic, and his momentum is grand. The running script is soothing and refreshing, 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". Ouyang Xiu of the Song Dynasty commented: "The loyalty of this man comes from his nature, so his calligraphy and painting are strong and independent, without following the previous traces, and are majestic and majestic, just like the person he was. Zhu Changwen of the Song Dynasty listed his calligraphy as a divine product in "Sushu Duan"." The comment said: "The point is like a falling stone, the painting is like a summer cloud, the hook is like bending gold, and the weapon is like a crossbow. There are images vertically and horizontally, and a low and high attitude. Since Xi and Xian, there has never been anyone like Gong."
Yan Zhenqing was born as a Jinshi. He first became famous when he was serving as the prefect of Pingyuan. When An Lushan raised troops in Fan Yang, all the counties in Hebei surrendered. Only Yan Zhenqing stayed in Pingyuan City, serving as the leader of the rebel army and doing his best for the Tang Dynasty. Finally, on Dezong's order, he went to the rebel general Li Xilie to persuade him to surrender, but unfortunately he was killed. His loyal and tragic deeds throughout his life enhanced his status in the calligraphy world. Yan Zhenqing's calligraphy is just like his character, with positive fronts from beginning to end. Therefore, the so-called stereotyped brushwork of Yanfa has less artistic value, but this brushwork can give full play to the composure and perseverance of men.
After the mid-Tang Dynasty, due to the separation of vassal towns and wars, the old system was on the verge of collapse. Yan Zhenqing's rise to establish a new model of regular script is a reflection of the principles of the Heart Sutra in rebuilding a new order. However, there was a distance between the strict regular script and the social background of the time. Therefore, after the end of the Tang Dynasty, the development of calligraphy art was concentrated in cursive script, and the classical model finally gave way to the individualistic lyrical style.
Style Characteristics
Yan Zhenqing’s calligraphy is known as Yan style and has his unique style and brushwork. He left many inscriptions, and later calligraphers believe that traces of the "round brush" can be found in some of his inscriptions, which are different from the "square brush" of other calligraphers.
Yan Zhenqing is regarded as the pioneer of calligraphy using round pens.
Both he and Wang Xizhi, who used the square brush, had a profound and far-reaching influence on later generations.
Character evaluation
Yan Zhenqing is a great figure in the history of calligraphy who holds the position of connecting the past and the future. His official books have always been famous for their profoundness and strength. ", represented by the Monument of the Yanshijia Temple; as for the majestic Moya masters, the most famous one is the Zhongxing Ode of the Tang Dynasty; for the highest level, expressing the charm of harmony and distance, the Li Xuanjing Monument is recommended. The grass path is strong and straight, full of ancient charm, and the first one is the memorial to my nephew.
Occupying a special position in the history of Chinese calligraphy, the only one who can compete with the great calligrapher Wang Xizhi and shine successively is Yan Zhenqing. His calligraphy is mostly regular script and also includes cursive script. The stele written in regular script is upright, beautiful and powerful. He was born when regular script was popular and, opposite to Wang Xizhi's example, he ushered in a new trend in calligraphy.
Existing works
The existing calligraphy works of Yan Zhenqing include: Duobao Pagoda Stele, Yan Family Temple Stele, Yan Qin Li Stele, Magu Immortal Altar Story, Nephew Memorial Manuscript... etc. He and Liu Gongquan, another calligrapher who became famous for his regular script in the Tang Dynasty, were collectively called "Yan Liu".
His calligraphy works are numerous, and it is said that more than 130 kinds have been handed down. The regular scripts that are valued by later generations include the regular script "Duobao Pagoda", "Oriental Painting Praise Stele", "Magu Immortal Altar", "Guo Family Temple Stele", "Yan Qin Li Stele", etc. These regular scripts on the stele have individuality and characteristics. It has an informal front, solemn but not dangerous momentum, but the strokes are thin horizontally and thick vertically and the feet are too fast. When learning, you should pursue its charm and not simply pursue the similarity. His running script "Manuscript of Memorial to Nephew Jiming" is a masterpiece created with grief and indignation, and is known as the second running script in the world. There are also running scripts such as "Tie for a Seat" and "Tie of General Pei".
"Duobao Pagoda Stele", the full name is "Inscription on Duobao Pagoda in Qianfu Temple, Xijing, Tang Dynasty": regular script, written by Cen Xun, inscribed by Xu Hao. The font is well-proportioned and plump. It was established in April of 725 (the eleventh year of Tianbao reign of Emperor Xuanzong of Tang Dynasty). The stele is stored in the Forest of Steles in Xi'an, Shaanxi Province. [1]
Edit this paragraph 3) Brief introduction of Liu Gongquan
Liu Gongquan (778-865) was a native of Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). He rose to the rank of Prince Shaoshi, and was known as "Liu Shaoshi" in his old life. He first studied the brushwork of Wang Xi and Liu Gongquan and studied the brushwork of Ouyang Xun and Yan Zhenqing, and then became his own style. The regular script he writes is vigorous and charming, with strong bones and strong morals. Compared with the Yan body, the Liu character is slightly thinner, so it is called "Yan Jin Liu Gu". Mu Zong asked Liu Gongquan how to use the pen, and Gongquan replied: "Use the pen with the heart in mind, and the heart will be straight, and the pen will be straight." Mu Zong was moved by this, just like his advice on writing. Zhu Changwen of the Song Dynasty said in "Mo Chi Bian": "Gongquan's official script and regular script are both the most exquisite, and they cannot be cured. The method comes from the appearance, but adds strength and richness, and comes from the famous master." He first learned Wang Xizhi's brushwork, and later on After reading all over modern calligraphy, he tried his best to change his military style, learned from Yan Zhenqing, and incorporated his own new ideas, so that his calligraphy avoided the trend of being thin horizontally and thick vertically, and was balanced, thin and hard, pursuing the decisive style of the Wei stele, with crisp and straight stipples, and strong bones. It is powerful and tightly structured, and many calligraphers in later generations took Liu Zi as a model.
He became a Jinshi at the age of 29 and worked as a low-level official in the local area. Later, Emperor Mu Zong of the Tang Dynasty accidentally saw his handwriting. As soon as he became a holy calligrapher, he was summoned to Chang'an by the court. At that time, Liu Gongquan had already Forty something. His character is both strong-minded and meticulous, and similarly, his handwriting also reveals this part of his character. Because of this, his reputation and status in Chang'an increased, and the princes and nobles spent huge sums of money to hire him.
Liu Gongquan died at the age of eighty. He served seven emperors in his first year, and finally died in office as the prince and young master.
Main Features
After experiencing the heyday of the Mid-Tang Dynasty, the calligraphy of the Late Tang Dynasty flourished and declined. Although Liu Gongquan was revived for a while, compared with Yan Shu, he was still slightly superior. . Calligraphy flourished during the Tang Dynasty, but has since declined. Liu Gongquan's regular script incorporates Ouyang Xun's brushwork. He often intersperses some strokes closely, making the wide areas particularly open. The strokes are thin and vigorous, and the edges and corners are sharp. Although the strokes were written by Yan Zhenqing, they are different from Yan Zhenqing's vigorous and broad strokes, making him particularly heroic. people.
Representative Works
He has many handwritten works handed down from generation to generation, among which the most influential ones include "Mysterious Tower Stele", "Shence Army Stele", "Diamond Sutra", etc.
1. "Shence Army Stele": regular script, established in the third year of Huichang in the Tang Dynasty (843 AD). It is one of Liu Gongquan's masterpieces. It has a more distinctive calligraphy style than the well-known "Mysterious Tower" in later generations. The structure layout is smooth and even, with the left side tight and the right side relaxed. It is also a better example for writing.
2. "Liu Shu Diamond Sutra": regular script, engraved in April, Changqinggang Year, Tang Dynasty (AD 824). The original stone was destroyed in the Song Dynasty. An only copy of the Tang rubbings from a stone chamber in Dunhuang, Gansu has been handed down from generation to generation without any damage. It is now in the Paris Museum in France. Critics believe that the Diamond Sutra in regular script has the advantages of Zhong (Yao), Wang (Xizhi), Ou (Yang Xun), Yu (Shinan), Chu (Suiliang), and Lu (Dongzhi), and is of high artistic quality. value.
3. "Mysterious Tower Stele": regular script. It was erected in the first February of the first year of Huichang in the Tang Dynasty (AD 841), and the original stele now exists in the Stele Forest in Xi'an, Shaanxi. This monument is the most famous among the calligraphy handed down from generation to generation. It is one of the most influential regular script models in history. [1]
Edit this paragraph 4) Zhao Mengfu's character introduction
Zhao Mengfu (1254-1322), whose courtesy name was Zi'ang and also known as Songxue Taoist. He was the most prominent painter of the Yuan Dynasty, Zhao Mengfu, and a painter who had a wide influence at that time and in later generations. Descendants of Qin Wang Defang, the son of Emperor Taizu of the Song Dynasty. After the fall of the Song Dynasty, he returned to his hometown and lived idle. Later, he was recruited by the ancestor of the Yuan Dynasty and served in five dynasties. He was promoted to a scholar in the Hanlin Academy, received an imperial edict, was honored as a doctor, was granted the title of Duke of Wei, and was given the posthumous title of Wenmin. He is good at seal script, Li script, Kai script, Xing script and Cao script, and is the best in ancient and modern times. He is the author of "Songxue Zhaiji".
He was a declining nobleman in Zhao and Song Dynasties, and later cooperated with the Yuan Dynasty. Zhao Mengfu and more than 20 people were the first batch to be recruited in 1287 (the 24th year of the Yuan Dynasty). After that, Jiangnan scholar-bureaucrats were recruited many times, and some of them obtained positions of wealth and wealth through Zhao Mengfu. Zhao Mengfu was favored by the emperor of the Yuan Dynasty. He was "prosperous in the five dynasties and famous all over the world". He became a scholar in the Hanlin Academy and became a leader in literati painting in the Yuan Dynasty.
Style Characteristics
He also touched the Dingding Monument of the Yuan and Wei dynasties, as well as Yu Shinan, Chu Suiliang and others of the Tang Dynasty, and gathered the achievements of previous generations. As Wen Jia said: "Wei Gong imitated all the excellent calligraphers of the ancients." Therefore, Zhao's success in calligraphy is inseparable from his ability to absorb the strengths of others. What is particularly valuable is that most calligraphers in the Song and Yuan Dynasties were only good at running and cursive styles, but Zhao Mengfu was able to master all styles. His articles are unparalleled in their time, and they also refer to the learning of Buddhism and Laoism. Many later generations learned Zhao Mengfu's calligraphy, and Zhao Mengfu's calligraphy was very popular in Korea and Japan.
Representative works
There are also excellent works in Zhao's regular script, such as "Sanmen Ji", which has a broad, profound and stable structure, smooth and rounded writing, and is most suitable for copybooks. Most of Zhao's handed down works are written in regular script, and most of them are written with exquisite penmanship and precise wording. For example, "Chibi Fu" can be regarded as a classic.
Character Evaluation
Zhao Mengfu was a very influential calligrapher in the early Yuan Dynasty. "History of the Yuan Dynasty" originally said, "Meng Fu's seal scripts, seal scripts, and official scripts are all the best in ancient and modern times, so he is famous all over the world for his books." High praise. According to Song Lian of the Ming Dynasty, Zhao's calligraphy learned from Siling (that is, Song Gaozong Zhao Gou)'s calligraphy in his early years, who "enlightened the eight methods wonderfully, and paid attention to the ancient elegance". . [1]
Edit this paragraph's historical status
The four masters of regular script have had a profound impact on the history of East Asian calligraphy and painting, pushing our calligraphy art to a historical climax, and setting the stage for future generations of calligraphy writing. A solid foundation was laid.
1. Yan Zhenqing
The founder of round-brush calligraphy: Yan Zhenqing occupies a special position in the history of Chinese calligraphy. The only one who can compete with the great calligrapher Wang Xizhi and shine successively is Yan Zhenqing. . His calligraphy is mostly regular script and also includes cursive script. The stele written in regular script is upright, beautiful and powerful. He was born when regular script was popular and, opposite to Wang Xizhi's example, he ushered in a new trend in calligraphy. His official writings have always been famous for their profoundness and strength, "destroying with sharp swords and shocking flying momentum", represented by Yan Shi's family temple stele; as for Moya masters, they are majestic and powerful, with "Ode to Zhongxing of the Tang Dynasty" being the most famous; The highest level, expressing the charm of harmony and distance, is the Li Xuanjing Monument. The grass path is strong and straight, full of ancient charm, and the first one is the memorial to my nephew. Yan Zhenqing is regarded as the pioneer of calligraphy using round pens. Both he and Wang Xizhi, who used the square brush, had a profound and far-reaching influence on later generations.
2. Liu Gongquan
A role model for calligraphy scholars: Liu Gongquan once used the opportunity of explaining calligraphy to the emperor to explain to the emperor the principles of life. In his opinion, the method of writing and the principles of life are the same. As long as you are upright, your calligraphy will also have an air of integrity. They believe that calligraphy not only makes people happy physically and mentally, but also helps cultivate noble moral character. He first studied Wang Xizhi and studied the brushwork of Ouyang Xun and Yan Zhenqing, and then became his own style. The regular script he writes is vigorous and charming, with strong bones and strong morals. Compared with the Yan body, the Liu character is slightly thinner, so it is called "Yan Jin Liu Gu". Mu Zong asked Liu Gongquan how to use the pen, and Gongquan replied: "Use the pen with the heart in mind, and the heart will be straight, and the pen will be straight." Mu Gong changed his appearance, just like his pen advice. Zhu Changwen of the Song Dynasty said in "Mo Chi Bian": "Gongquan's official script and regular script are both the most exquisite, and they cannot be cured. The method comes from the appearance, but adds strength and richness, and comes from the famous master." He first learned Wang Xizhi's brushwork, and later on After reading all over modern calligraphy, he tried his best to change military techniques, learned from Yan Zhenqing, and incorporated his own new ideas, so that his calligraphy avoided being thin horizontally and thick vertically, and was balanced, thin and hard, pursuing the decisive style of the Wei stele, with crisp and straight stipples and strong bones. It is powerful and tight in structure. Many calligraphers in later generations took Liu Zi as a model.
3. Zhao Mengfu
One of the most outstanding calligraphers of the Yuan Dynasty: Zhao Mengfu was born into a noble family and experienced changes in the Song and Yuan Dynasties throughout his life. His calligraphy is elegant and graceful, which is in sharp contrast with the vigorous style of the other three famous regular script masters. Zhao Mengfu was a very well-educated artist, and his accomplishments in painting were often praised by art historians. Zhao Mengfu was erudite and talented. He was good at poetry and prose, understood economics, was good at calligraphy and painting, was good at epigraphy and stone, knew laws and regulations, and understood appreciation. In particular, he achieved the highest achievements in calligraphy and painting, creating a new style of painting in the Yuan Dynasty, and was known as the "Crown of the Yuan Dynasty". In painting, landscapes, figures, flowers and birds, bamboos and rocks, and pommel horses are omnipotent; fine brushwork, freehand brushwork, green, and ink are also masterful. He already occupies an important position in the history of Chinese calligraphy. Zhao Mengfu began to study calligraphy since he was five years old. He continued to read and write calligraphy until his death. He was good at seal script, official script, Zhen script, Xing script, and cursive script, and was especially famous for his regular script and running script. According to the "History of the Yuan Dynasty," "Meng Fu's seal script, official script, Zhen script, and cursive script are all the best in ancient and modern times, so he is famous all over the world for his books." "Zi'ang's Seal Script" by Yushu of the Yuan Dynasty said: "Zi'ang's seal script, Li, Zhen, Xing and Biancao are the best in the contemporary era, and his small regular script is the first among all Zi'ang's books." His calligraphy style is charming, elegant and coherent. Strict and neat, with sophisticated brushwork, it is known as "Zhao style" in the world. [1]