Chu Suiliang's calligraphy was influenced by calligraphers Ou Yangxun and Yu Shinan. At the Li Shimin Literature Museum, Chu Suiliang had the opportunity to learn calligraphy from two old friends of his father. Under the guidance of the two men, Chu Suiliang's calligraphy level was further improved and he eventually became a great man.
But at that time, Chu Suiliang was still young. After Yu Shinan's death, Chu Suiliang was recommended by Wei Zhi and could be used by Li Shimin. With the growth of age, Chu Suiliang's calligraphy is becoming more and more perfect. In his later years, Chu Suiliang's calligraphy reached a high level.
Comparing Ou Yangxun's and Yu Shinan's calligraphy, we can easily see from Chu Suiliang's calligraphy that Chu Suiliang's style changes are reflected in his main strokes. Ou Yangxun's calligraphy pays attention to a very neat and rational beauty, while Yu Shinan's calligraphy is the kind of introverted beauty that is moist and moist as jade. But Chu Suiliang's calligraphy is different from theirs. Chu Suiliang's calligraphy is a kind of beauty, which comes from the connotation of the word itself. If the strokes and lines of Ou Yangxun and Yu Shinan serve the glyphs of calligraphy, then Chu Suiliang changed them. Chu Suiliang's strokes and lines, like a kind of existence beyond glyphs, are an abstract beauty.
Therefore, Chu Suiliang deconstructed the beauty of neatness and preciseness established by Ou Yangxun and others. Chu Suiliang divided the characters composed of strokes into words full of vitality and emotion between strokes, which was his contribution to the art of calligraphy. Chu Suiliang showed another possibility of calligraphy for future generations. He can not only feel the beauty from the form of font, but also produce the beauty from strokes, turns and cycles.
Chu Suiliang's Painting Characteristics
Judging from Chu Suiliang's calligraphy work "Preface to the Wild Goose Pagoda", Chu Suiliang's brushwork has the following characteristics:
*** 1*** stippling. As far as stippling is concerned, Chu Suiliang's pen is very flexible, and stippling embodies Fiona Fang. His stippling combines center and side, hidden front and exposed front. And there are oblique points, vertical points, vertical points, dots, jumping points and so on. In order to express the different strokes of stippling, Chu Suiliang wrote oblique points like falling rocks on the summit, and vertical points mostly used elbows to borrow momentum. Chu Suiliang's hanging points are like water drops, and the dots look dignified and complete, and the picking points are somewhat imposing.
***2*** painting. Drawing is the extension of pointillism. Chu Suiliang wrote and drew pictures in one go, with proper strength.
***3*** horizontal painting. There are two kinds of horizontal painting: long horizontal painting and short horizontal painting. Chu Suiliang's long horizontal painting is elastic, with the pen reversed, and the middle slightly bulges to form a radian; His short horizontal line is concise and well executed.
***4*** Vertical painting. Chu Suiliang's vertical paintings, whether long or short, are straight and vigorous, and the force is finally withdrawn.
***5*** sketch. There are two kinds of skimming: Chu Suiliang's long skimming is suitable for using a pen, and his tail is used to make power; Short pen makes power, short and powerful.
***6*** Si painting. Chu Suiliang's paintings are from light to heavy, full of Han Li characteristics.
***7*** sketch. The hook painting in the preface to the sermon on the Wild Goose Pagoda is changeable in shape, simple and full.
***8*** overlapping paintings. There are two kinds of folding paintings: square folding and round folding. Chu Suiliang's origami paintings are very coherent in the transition process.