The four masters of regular script are: Ou Yangxun in the early Tang Dynasty, Yan Zhenqing in the prosperous Tang Dynasty, Liu Gongquan in the Tang Dynasty and Zhao Meng in the Yuan Dynasty.
The four masters of regular script are the collective names of four calligraphers who are famous for regular script in the history of calligraphy. Regular script, also known as Four Books, has four styles: Ou Yangxun in the early Tang Dynasty, Yan Zhenqing in the prosperous Tang Dynasty, Liu Gongquan in the Tang Dynasty and Zhao Meng in the Yuan Dynasty.
outline
I. Ou Yangxun
Ou Yangxun, a native of Linxiang, Tanzhou, was a famous calligrapher in the Tang Dynasty. He was once a prince, so people called him "Ouyang Lvgeng". Ou Yangxun's calligraphy enjoyed a high reputation in the Sui Dynasty. In the Tang Dynasty, Ou Yangxun was still teaching calligraphy in Hong Wen Pavilion.
Ou Yangxun studied Wang Xizhi's calligraphy style in his early years. It is said that he once bought the Map of Gui Zhi for Wang Xizhi's godson with a large sum of money, copied it day and night, and studied hard. On another occasion, when he went out with Yu Shinan and saw a stone tablet written by Suo Jing, a calligrapher of the Jin Dynasty, he sat on the floor. He carefully observed and described the tablet for three days, which shows that Ou Yangxun has a strong interest in calligraphy.
Later, he extensively studied the inscriptions in the Northern Dynasties, absorbed the strengths of some local calligraphers, and then integrated them into the official script, forming a "vigorous and rigorous" "European style".
Second, Yan Zhenqing.
Yan Zhenqing was born in Jingzhao, Wannian, and Linyi, Tang Dynasty. This word is clear. He is a representative figure of calligraphy innovation in the middle Tang Dynasty, and his regular script is dignified and majestic. Running script is easy and colorful. His calligraphy is not only influenced by the charm and charm of the previous calligraphy style, but also not bound by the ancient law. It breaks through the conventions of the early Tang Dynasty and is unique, which is called "Yan Ti".
Song Ouyang Xiu commented: "Thinking about life is loyal, so calligraphy and painting are strong and independent, and they don't attack the past. They are quite magical, a bit like people. In the Song Dynasty, Zhu listed his calligraphy as a sacred product in "Continued Book Break". " And commented: "Point is like a falling stone, painting is like Xia Yun, hook is like a bow, and ge is like a crossbow. There are images in both vertical and horizontal directions, and there is a low posture. Since Xi 'an, there is no such thing as a public figure.
Third, Liu Gongquan.
Liu Gongquan is from Beijing. Official to the prince, deceased people call it "Liu". He began to learn from Wang Xizhi, the brushwork of Ou Yangxun and Yan Zhenqing, and then set up his own family. The regular script written is beautiful and strong. Compared with Yan Ti, Liuzi is slightly thinner, so it is called "Yan Liu Jin Gu". Mu Zong asked Liu Gongquan how to use a pen, and Gong Quan replied: "With a pen in your heart, your heart is always there." Mu Gong was moved by it, like his pen remonstrance.
In the Song Dynasty, Zhu Zai said: "The public power official book has the best operation mode, but the grass can't." Its method is mainly based on beauty, but it is rich and famous. "He learned Wang Xizhi's brushwork at first, and then read the modern calligraphy from the beginning again, so he tried his best to change the right army method, learn Yan Zhenqing, and learn his own new ideas, so that his calligraphy avoided the trend of horizontal and vertical, adopted the method of balancing thin and hard, and steadily chased Wei Bei, making his brushwork simply beautiful, vigorous and compact. Many scholars in later generations took Liu Zi as a model.
Fourth, Zhao Meng _
Zhao Meng, the word Ang, was born in Song Xue Road. He was the most outstanding painter in Yuan Dynasty, and had a wide influence at that time and later generations. Descendants of Song Taizu's son, King Qin Fangde. After the demise of the Song Dynasty, he returned to his hometown to live in seclusion. Later, he was wooed by Yuan Shizu and became an official in the Five Dynasties. He was appointed as a bachelor of Hanlin, and Dr. Rong Lu was appointed as Wei Gong and Shi Wenmin. Make good use of printing, printing, printing, printing, printing, printing, printing. He is the author of Song Xuezhai Collection.
He was a declining aristocrat during the Zhao and Song Dynasties, and later cooperated with the Yuan Dynasty. 1287 the first batch recruited more than 20 people including Zhao Meng. Later, they recruited Jiangnan literati many times, and some of them got the post of Li Lu through Zhao Meng. Zhao Meng was favored by the emperors of Yuan Dynasty and became the leader of literati painting in Yuan Dynasty.
Four masters and representative works of regular script
The four masters of regular script are the collective names of four calligraphers who are famous for regular script in the history of calligraphy, also known as the four masters of regular script. They are Ou Yangxun in Tang Dynasty, Yan Zhenqing in Tang Dynasty, Liu Gongquan in Tang Dynasty and Zhao Meng in Yuan Dynasty.
Ou Yangxun in Tang Dynasty: His brushwork is rigorous and precipitous, and he is known as "the first regular script in Tang Dynasty". His masterpiece is "The Inscription of Liquan in Jiuchenggong".
Yan Zhenqing in Tang Dynasty: His regular script is dignified and magnificent, which is called "Yan Ti" in the world. Representative works include Yan Liqin Monument, Yanjia Temple Monument, Duobaota Monument, and Magu Xiantan Ji.
Liu Gongquan in Tang Dynasty: His regular script is clean and vigorous, with rigorous structure, delicate brushwork and straight brushwork. He is praised by the world as "Liu Ti", and his masterpieces include Mysterious Tower Monument and Shence Army Monument.
Zhao Meng in Yuan Dynasty: His regular script is round and delicate, correct and rigorous, and yet elegant and graceful. Known as "Zhao Ti" in the world, his masterpieces include Danba Monument and Rebuilding the Three-story Xuan Dian.
Ou Yangxun's Inscription of Liquan in Jiucheng Palace
Many pagodas in Yan Zhenqing.
Liu Gongquan's mysterious tower
Zhao Meng _ Danba Monument
Who is the first of the four regular script writers?
Ou Yangxun, a native of Linxiang, Tanzhou, was a famous calligrapher and official in the Tang Dynasty. One of the four masters of regular script, South Liang Zhengnan general Ouyang _, South Chen son of the general. Liang Taiping was born in Hengzhou in the second year of Southern Dynasties, and his ancestral home is Linxiang in Tanzhou.
Ou Yangxun, together with his contemporaries Yu Shinan, Chu Suiliang and Xue Qi, were called the four masters in the early Tang Dynasty. Because his son Ouyang Tong is also good at calligraphy, he is also called "Big Europe".
He and Yu Shinan were both famous for their calligraphy in the early Tang Dynasty, also known as "Ou Yu". Later generations see danger in Chinese books, which is the most convenient for beginners and named "European style".
Representative regular script includes Jiuchenggong Li Quanming, Huangfu Birthday Monument, Huadu Temple Monument, and running script includes Zhong Nimeng's stippling and running script with thousands of characters. He has his own unique views on calligraphy, including eight methods of calligraphy works, teaching strategies, pen theory and thirty-six methods. Written by the Buddhist monk Huadu Temple Pagoda Inscription, Gonggong Wenyanbo Monument and Huangfushengchen Monument are called "the first regular script in the Tang Dynasty".
Major achievements
Ou Yangxun is not only a great calligrapher, but also a calligraphy theorist. In his long-term calligraphy practice, he summed up eight methods of practicing and learning Chinese characters. Ou Yangxun's "Teaching Pen", "On the Use of Pen", "Eight Methods" and "Thirty-six Methods" are all his own experiences in learning calligraphy, which specifically summarize the formal skills and aesthetic requirements of calligraphy, such as the use of pen, structure and composition, and are valuable legacies of calligraphy theory, China.
calligraphy theory
Professor formula
Every stroke should be in the right direction, with vertical and horizontal strength, with quiet and thoughtful embellishment. When judging the word situation, stop on all sides and prepare on all sides; Long and short fit, compromise thickness; Keep an eye on the process, not leaking.
Secret _ Heads. The least busy is the loss; Time can't be delayed, and if it is slow, it will be silly; Not thin, thin when dry, not fat, fat is turbid. The most important thing is to walk slowly and prepare yourself naturally. On July 12, the sixth year of Zhenguan, he asked for a book to pay Liang Nu for a plan.
Eight suggestions
Calligraphy theory, the "Eight Laws of Ou Yangxun", has unique opinions. Mason Lee's "84 Law" in the Ming Dynasty and Huang Zi's "92 Law" in the Qing Dynasty are enlightening.
Eight Decisions is a theoretical work of Ou Yangxun.
[Point] Like a stone falling from the top of a mountain.
Like the first moon in the sky.
[Horizontal] Like a thousand miles of clouds.
Like a dead vine.
[Oblique hook] Jinsong hangs upside down and bends off the cliff.
【 Crosshook 】 Similar to a crossbow.
The sharp sword cut off the rhinoceros's horns.
[Thinking] A quilt is often written three times.
Anecdotal allusions
Ou Yangxun is clever and diligent. He has read several lines at the same time. When he was a teenager, he was proficient in Historical Records, Hanshu, Dongguan Han Ji, especially calligraphy, almost to the point of obsession. It is said that Ou Yangxun once rode out and happened to see a stone tablet written by Suo Jing, a famous calligrapher in Jin Dynasty. He rode on a horse and watched it carefully for a while before leaving, but just a few steps later, he couldn't help but return to dismount and watch. He boasted many times that he didn't want to leave, so he simply laid a blanket and sat down to ponder over it. Finally, he sat by the monument for three days before leaving.
Zhao Meng _ Regular Script Teaching Video
This is actually a set of pavilion tutorials summed up. In the past, I had to write papers and write pavilion-style exams for fame and fortune. Yan Liu Ou Zhao is a tutorial. Why start with Yan? The word Yan is broad and majestic, and the first step is to learn. Regular script is square, how to occupy this space, there is a lot of knowledge, not just to fill the four corners. Like people and mouths. The two words are written in the same size, which is obviously wrong. This mouth is so big that it will eat people. So Jim not only filled the gap. For example, what buildings we are looking at now, the big characters typed by the computer will always feel bigger than those of luxury houses. The smaller the bigger, the better the ratio.
After studying Yan Zhenqing for a long time, it is easy to write about being fat, so learn from Liu, Gu and his strength and strength. But Liu Gongquan's structure is not very good. The whole article is good, everyone is smart, but every word is not necessarily a perfect structure, so in this case, we must learn from Europe. Ou's structure is the most upright, and it is easy to be like an operator after a long time. In this way, learn from Zhao. Zhao Meng's regular script, strictly speaking, has a running script and is very vivid. But this program is too complicated. Is there anything quick? Ou Li Zhao noodles. Pick up the European structure-inside, face to face-and use a pen to combine it like this.
Let's take a look at many words in the Qing Dynasty, all of which conform to this feature.
Yan Zhenqing's Yan Monument and Liu Gongquan's Shence Army Monument.
Every family has its own characteristics. Let's take this hook as an example. The first line is Weibei. This kind of vertical hook is characterized by being flat and long, with the inner circle outside, and it feels as if it is flat inside.
The second line is the word "colorful body", and the hook is to go back when it comes down and pick it out when it goes up. There seems to be no obvious picking action on the hook of European body. After coming down, it came out, as if it was over with a pen. Therefore, when we write European characters, we must be subtle, which is a bit like hanging out.
The fourth line is Zhao Ti.
Weibei is a horizontal pick, he is an upward pick, and the angle is different. The so-called hook is to pick a pen vertically, and there is no pen between the two picks. Draw a picture:
If you remove the following points, will it become an ordinary hook, and it will not be Zhao. This is very important, the so-called appearance. Look, not in the big place, but in the small details. Only by looking at several regular script styles can we reveal their respective characteristics. Finding that this is the first step, we have to wonder how this is written in the second step. This is the way to write his effect. The brushwork is not fixed, and everyone can sum it up. As long as you can write it.
The second part talks about combination: structure.
The first line is broken, sincere, external, such as, wonderful. All four words are left and right structures, but none of them are parallel, but they are scattered up and down. Then let's take a concrete look at its adjustment method.
The first word: broken. The side of the stone itself is not positive, but inclined upward. The bottom of the mouth is finally sealed in a short horizontal direction and tilted upward. The first stroke of this leather is inserted vertically in the gap of the mouth, and then the last stroke is pulled down. In this case, the tension of the concept of the word pillar is very great.
The side of the female character is not positive, but biased to the left, with a lower center of gravity. After such a horizontal pick, there is a space for the female anti-company to open, and then the mouth is empty.
The point of the wonderful word, the triangular gap around the female word, is the position of the small word.
The position on the left determines the position on the right, and each stroke follows the position of the previous stroke. So sometimes the word "pro" doesn't look like it's stuck on it. Everyone should understand that when you don't write like it, the problem must not be slap in the face. If you want to push forward, there is a problem.
The force is not inserted independently, but as a whole.
With the same structure, the shape of regular script is relatively clear and fixed, so we must use our brains and intersperse them in the writing of strokes. Because cursive script can change the whole glyph, the difficulty of regular script is also here, and the mystery of mystery is also here.
Two silent words, the angle has changed. Above is Bao Gaier. The point on the left of Bao Gaier points to the left, and the point on the right points to the right. The following is different, two vertical lines, the vertical line on the left is opposite to the point and inclined to the right. The vertical line on the right is opposite to the point and slightly recycled. So the first point of Bao Gai determines the overall relationship.
When words are connected in series, the relationship between lines constitutes a composition.
Wangxizhi children's paste
Wang Xizhi's Seven Sons and One Daughter has simple strokes, but good pitch and implicit power. On the right is Zhao Meng's post. Compare it. The parallelism of Zhao Meng _ is particularly prominent, and every word seems to take the potential obliquely, so the potential is relatively single.
The small one is still three words, and the upper part of this small peacemaker written by Wang Xizhi seems to be one word, which is integrated into one. Wang Xizhi's handwriting is very powerful, sometimes interrupting the sense of order of the word itself, and the upper and lower combinations have changed. Lin's temperament is much warmer, not as regal as Wang Xizhi's.
Among them, we should understand the problem of using pen and regular script structure. Wang Xizhi's fine print with dots is completely regular script. Sun is very clever and compares regular script with cursive script.
Observe the collocation of these six words: the vertical hook is put outward, so the left side of the word should be aggravated and the left and right sides should be opened; If there is a heavy left side, it will make you feel like you are going to hold him up; When you feel the word, you feel it rising, so it is emphasized on the left side of the word; The left side of the word is aggravated, and the weight of the silk is very light and beautiful; The last article was revised, but it was a resounding full stop.
This is the well-organized place of Lanting, and every word echoes in the distance between intonations.
The arrival of Mr. Shen will be much smoother.
The last point of the word seems to be not in the normal position, but slightly higher; The prone word is unilaterally aggravated and the inch word is raised; The bow is horizontal, the back is vertical, and the outline of the word has changed, which is flat and long. Mr. Shen and Yin Mo are basically the same in appearance.
These classic things should be carefully understood. Especially through the copying of famous artists, they must have their own views on these posts, so where are their views? What did they choose? It is an excellent function for us in the original post.
The composition just mentioned is invisible, and the composition is still displayed in an invisible place. Why Wang Xizhi's cursive seventeen posts are good, and the interlaced pulse is constant. Composition is also reflected in the position of space, in the spacing and spacing of words.
Ou Yangxun Jiucheng Palace Liquan inscription, the left and right words are the same, are copied. The lines on the left side are sparse and the lines on the right side are dense, so the right side is not characteristic of Ou Yangxun. If it is a Yan-style figure, you need this dense pattern on the right.
When a word is approved depends on its surrounding environment, which is all a matter of composition.
Yan's regular script.
Li Yanqin Monument is one of the representative works of Yan Zhenqing's calligraphy in the most mature period. Its structure is dignified and open-minded, open-minded, dynamic and static, clever and clumsy, elegant and smart.
His pen is horizontal and thin, vertical and thick, hiding the head and protecting the tail, and Fiona Fang uses it together, which is vigorous and powerful. Vertical painting takes the trend of "facing each other", the painting is thick and the goose tail is forked, hooked like a bird's mouth, and the momentum between paintings is coherent. The words in the tablet, the same stippling, have different changes, vivid and rhythmic. This monument emphasizes statutes and rules, and has the spirit of flourishing Tang Dynasty.
The brushwork refers to the brushwork of writing and stippling. In a broad sense, brushwork includes holding brushwork and using brushwork. In a narrow sense, brushwork refers to the "pen" method, that is, the method of writing various forms of stippling.
Extended data
The full name of this monument is "tombstone, governor of Kuizhou in history and defender of the army in the history of secretariat". Yan is Yan Zhenqing's great grandfather. Yan Zhenqing was 7 1 year old when he wrote and published this monument.
This tablet was recorded in Ouyang Xiu's Collection of Historical Records, but it was not recorded in Jin Bian in Qing Dynasty, which shows that this tablet was very famous in the Northern Song Dynasty. Buried in the Yuan and Ming Dynasties, it was rediscovered in the Republic of China.
According to the inscription of Song Bolu 1923, this tablet was obtained by He Menggeng in the back soil of Fankutang in the elderly in 1922 10. Although the monument has been interrupted, it is well preserved from top to bottom, except that its inscription can be traced back to the stone, which was erased as a base address in the Song Dynasty. The newly unearthed rubbings, the word "Li" in "the mouth of the elders", are broken at times, but they do not damage the strokes. Then the word "so" went down. The right vertical pen of the word "flat" in the first line is undamaged.
References:
Baidu Encyclopedia-Li Yanqin Bei