Liu Gongquan
Liu Gongquan (778 -865) was born in Jingzhao Garden (now Yaozhou District, Tongchuan City, Shaanxi Province), Han nationality. A famous calligrapher and poet in the Tang Dynasty, the younger brother of Liu Gongzhuo, the minister of war.
Liu Gongquan became a scholar at the age of twenty-nine. In his early years, he served as secretary of provincial studies and was incorporated into the Li Ting shogunate. In Mu Zong, Jing Zong and Wenzong Dynasty, he served in the official residence and grew up in North Korea. * * * During the Seven Dynasties, the official was the Prince, and he was named the Duke of Hedong County, and the official was the Prince Taibao, so it was called "Liu". In the sixth year of Xian Tong (865), Liu Gongquan died at the age of 88 and was posthumously given to the Prince.
Liu Gongquan's calligraphy is famous for regular script, which is as famous as Yan Zhenqing, and is called "Yan Liu", and is also known as "four masters of regular script" with Ou Yangxun, Yan Zhenqing and Zhao Mengfu. Wang Xizhi, a beginner in calligraphy, later visited famous calligraphers in the Tang Dynasty, learned from Yan Zhenqing's strengths and absorbed new ideas, and created his own unique "Liu Style", which was famous for its strength and health, and later generations had the reputation of "Yan Gu". Inscriptions handed down from ancient times include Xuanta Monument and Su Feng Monument, and cursive scripts include Shen Fu, Sixteen and Insulting Xiang Tie. In addition, there are ink marks such as Meng Zhaotie and Wang Xianzhi's Pear Postscript. Liu Gongquan also writes poems. Complete Tang Poetry contains five poems, and Complete Tang Poetry contains one poem.
Liu Gongquan's Masterpieces of Calligraphy and Inscription
inscription on a tablet
Pingxi County Monument, Datang Huiyuan Temple Bell Tower Ming, Su Feng Monument, Xiyang County Wangyi Monument, Mysterious Tower Monument, Shence Army Monument, Liu Mian Monument, Original Road Monument, Wei Gongxian Temple Monument, Gaoyuan Yuxi Monument and Tuolin Temple Restoration Monument.
Running script/script
Shen Fu, sixteen days, insulting Xiang Tie.
Yan Zhenqing
Yan Zhenqing (August 23, 709-784) was born in Jingzhao Wannian (now Xi 'an, Shaanxi) and Linyi (now Linyi, Shandong). Yan Shigu V was a famous official and an outstanding calligrapher in the Tang Dynasty, following his grandson and Yan Gaoqing.
In the 22nd year of Kaiyuan (734), Yan Zhenqing became a scholar and served as a supervisor in the temple. Later, because he offended Yang, the powerful minister, he was demoted to be the prefect of the plain and was called "Yan Plain" by the world. During the Anshi Rebellion, Yan Zhenqing led a crusade against the rebels. Later, he went to Fengxiang and was made a minister. When Tang Daizong was an official, he went to the official department of Shangshu Province, and a prince and a surname named him Duke Lu, which was called Duke Yan Lu in history. In the first year of Xingyuan (784), he was sent to tell the rebel Li Xilie that he refused the thief in awe and was finally slapped to death. After he was killed, Cao's heirs and soldiers of the three armed forces cried. Posthumous title Si Tuleideng, posthumous title "in the text".
Yan Zhenqing's calligraphy is exquisite and good at it. Chu Suiliang, a beginner, studied under Zhang Xu and got his brushwork. Its regular script is dignified and majestic, and its running script is vigorous and powerful, which has created a "Yan style" regular script and has a great influence on later generations. Together with Zhao Mengfu, Liu Gongquan and Ou Yangxun, they are also called "four masters of regular script". Together with Liu Gongquan, they are called "Yan Liu" and "Yangu". He is also good at poetry, such as You, Ji, Wu, Ji, Lu Ji and Linchuan Ji, all of which have been lost. The Song people compiled Yan Ji.
calligraphy
Achievement state
Yan Zhenqing's calligraphy was a beginner of Chu Suiliang, then he learned to write in Zhang Xu and discussed calligraphy with Huai Su. He deeply studied the calligraphy of Erwang and Chu Suiliang, absorbed their strengths, completely got rid of the style of the early Tang Dynasty and created a new era of calligraphy style. Yan Zhenqing's calligraphy style is called "Yan Ti", and it is also called "Yan Liu" with Liu Gongquan, and has the reputation of "Yan Liu Jin Gu".
Yan Zhenqing's original calligraphy is magnificent and dignified, and its handwriting has changed from slender in the early Tang Dynasty to square and has a centripetal force. The pen is vigorous and powerful, and the central brushwork is good. Full of bones and muscles, but also sharp. Generally, horizontal painting is slightly thinner, vertical painting, point, skimming and pressing are slightly thicker. This book is magnificent in style and momentum, and has the spirit of flourishing Tang Dynasty. His cursive script is vigorous, expressive, calm and vigorous, which opens up a complete life for the cursive script after Wang School. Yan Zhenqing's running script is vigorous and vigorous. This style also reflects the prosperous style of the Tang Dynasty empire and conforms to his noble personality. It is a typical example of the perfect combination of calligraphy beauty and personality beauty, so it is praised as "the second running script in the world" by later generations.
It is more dignified and vigorous, and Yan's tablet is also his work, but the fine strokes are different from other tablets. Yan's Temple Monument is rich in calligraphy, which is also his masterpiece in his later years. Compared with his early works, it is more vigorous and atmospheric, which is his masterpiece in his later years.
In the history of calligraphy, Yan Zhenqing created a unique realm of calligraphy with "Yan Ti". His calligraphy is characterized by excellent spirituality and natural magnificent realm; It is cast by its powerful soul, and its realm is naturally vigorous; It enriches the people, and the realm is naturally broad. In his youth, Yan Zhenqing asked Zhang Xu "how to be equal to the ancients". This is the aspiration of Yan's calligraphy, and it is also Yan's flying mandarin fish. This strict Miao descendant who used a loess broom to sweep walls and learn calligraphy since childhood stood at a towering starting point of calligraphy almost from the beginning. In calligraphy, Kun Peng spread his wings, and it took almost thirty or forty years of experience to become his own face and climate. Then after decades of hard work and enrichment, the "face and body" has both form and spirit. In his later years, he still pursued perfection and perfection. "Yan Ti" finally stands tall in the book world. As A Brief History of China said: "Ou, Yu, Chu and Xue in the early Tang Dynasty were only the inheritors of the calligraphy style of the two kings, and Yan Zhenqing in the prosperous Tang Dynasty was the creator of the calligraphy style of the Tang Dynasty. "Yan Zhenqing's regular script, especially the regular script after the Indian year, has formed a paradigm, and there are many learners in later generations, and there is even a saying that' learning books is beautiful'. [48]
Calligraphy realm
Yan Zhenqing's life experience of calligraphy realm.
The first field
Establish a solid bone body and seek a charming style of writing for men.
Before the age of 50, it can be said that it is the first level of experience. In this process, I initially established my own "face". If Zhang Xu awarded Yan Zhenqing the brushwork in Pei's home in the fifth year of Tianbao (746), then Yan Zhenqing was still in a difficult exploration stage before that. The works handed down from generation to generation at this stage are rare. For example, in the first year of Tianbao, he wrote Zhang Renyun's Political Monument, and in the fifth year of Tianbao, he wrote the word "Longxi" on Cliff Calligraphy and Heshan Stone Wall. At this time, Yan Zhenqing had achieved considerable accomplishment in calligraphy. When Zhang Xukao asked Yan Zhenqing's twelve tricks, Yan Zhenqing either learned from Zhang Xu or answered what he had learned, which impressed Zhang deeply. He is ambitious, aiming at "keeping up with the ancients". Zhang Xu is therefore willing to give brushwork again.
Yan Zhenqing accepted Zhang Xu's brushwork and said with delight, "It's wonderful to attack books from now on. Five years later (or seven years later), I really know that this can be done. " Therefore, the five years (or seven years) after Tianbao's five years can be said to be the stage of Yan Zhenqing's efforts to hone according to Zhang Xu's guidance. Sure enough, eleven years after Tianbao, there are more and more calligraphy tablets in Yan Zhenqing, which has enjoyed a certain reputation in the society. The eleven-year books of Tianbao include Guo Monument, Guo Yan Monument, Duota Monument and Confucius Temple Monument. In the 13th year of Tianbao, there were masterpieces such as Dong Fangshuo Portrait Praise and Dong Fangshuo Portrait Praise Monument Seal Ji. In the 14th year of Tianbao, An Lushan rebelled, and Yan Zhenqing was preoccupied with fighting the rebels, so he had no time to care about the art of writing. This can be said to be the first stage of Yan's calligraphy experience and the first realm of experience.
During this period, although there may be differences in the appearance of each monument, on the whole, it was the initial formation stage of "Yan Di". From the analysis of many pagodas and other typical works, it can be seen that Yan Zhenqing pursues calm and heroic pen, vigorous bone strengthening and thick flesh color painting; The structure is dense, dignified and deep, changing from slender to square; Reduce the spacing of lines on the cloth and become dense. At this stage, what Yan Zhenqing pursues in Xiong is the realm of charm: pointillism has bones and muscles, pointillism is pure and charming, and its strength and danger make it clear and charming. Besides, he basically specializes in learning real books and cursive scripts. Although there are official scripts and seal scripts, there are not many. Yan Zhenqing's first realm came from the early Tang Dynasty, which broke away from the track of the early Tang Dynasty and stood on its own feet. The experience of this realm is based on Zhang Xu's example.
The second field
Investigate the subtlety in the word and seek the grandeur outside the word.
From 50 to 65, it can be said that it is a second realm experience. In this process, "Yan Ti" has both form and spirit, and gradually matures. In the meantime, his works include Jin Tianwang Temple's Inscription (758), Poem Inscription Table of Xiaoyaolou (758), Biography of Fairy Jade Leaving the Pile (762), Erase Biography (762), Yan Yunan's Inscription (762), Wei Zhenbei (763) and Zang. Yin Monument (770), Zhang Monument (770), Love Monument (770), Baoying Temple Memorial Hall (77 1), Magushan Xiantan (77 1), etc.
After experiencing the turmoil of "An Shi Rebellion" and being imprisoned again and again, he expanded his spiritual space again and again. Scholar-soldier-commander-in-chief, standing in North Korea-standing in North Korea, with frequent lifestyle changes, more life experience and deeper artistic taste. These, Yan Zhenqing's "One Book", have repeatedly tempered the early "Yan Ti", refined in form and spirit, making both spirit and form, and finally maturing. As you can see, he strengthened his wrist, moved the center, adopted the printing method, and moved the circle to the front line in Tibet, such as Yin Yinni. The strokes form the swallowtail of the silkworm head, while the straight drawing forms the shape of a crossbow. The contrast between strokes is complicated. Pinch the end of the hook, kick out the sharp edge and show off its spirit. His brushwork shows a tortuous rhythm. Its straight hook, flat hook and inclined hook are full of potential, with uniform curvature and strong roundness. Its folding pen is secretly rotated by holding the pen, forming an inclined plane to fold down, and it is drawn by "folding pin". Structurally, it is dignified and steady, with a wide middle palace and dense shapes around it. It does not occupy the lateral advantage of the center of gravity, nor does it occupy the left and right advantages, but shows people with a symmetrical positive image like turning inside. On the white cloth, there are rows of words and dense lines, and the momentum is taken by shape, not by thinning.
At this point, Yan Zhenqing swept away the regular script style since the early Tang Dynasty: the former is square and the latter is positive; The former is beautiful and the latter is strong; The former is elegant and the latter is straightforward; The former is thin and the latter is fat; The former has profound statutes, while the latter has laws to follow; The former is decorated with flowers, while the latter is full of vitality. It can be said that it is reform and innovation, and the male soul casts a "face."
The third realm
Experience the changes of immortals and the romance of life.