"The Preface to the Holy Religion" is a work composed by Huairen of the Tang Dynasty who collected calligraphy from various works of a certain calligrapher (). A． Ouyang Xun B. Yan Zhenqing C. Wang Xizhi D. Liu Gongquan's answer C
"The Preface to the Holy Religion": The full name is "The Preface to the Holy Religion of the Tripitaka of the Tang Dynasty", written by Emperor Taizong of the Tang Dynasty. It was first written by Chu Suiliang, one of the four great calligraphers in the early Tang Dynasty, and was called the "Preface to the Holy Religion of the Wild Goose Pagoda". Later, Shamen Huairen collected the calligraphy from Wang Xizhi's calligraphy and carved it into an inscription. It is called "The Preface to the Holy Teachings of Youjun in the Collection of Tang Dynasty", or "The Preface to the Holy Teachings of Wang Xi in the Collection of Huairen". Because there are seven Buddha statues engraved horizontally at the head of the stele, it is also called "The Preface to the Holy Teachings of Seven Buddhas".
Also known as "The Preface to the Sacred Teachings of Ci'en Temple". It was established in the fourth year of Yonghui (653). All two stones are located under the Big Wild Goose Pagoda of Ci'en Temple in Xi'an, Shaanxi Province. The front stone is a preface, the full name is "Preface to the Holy Teachings of the Tripitaka of the Tang Dynasty", written by Li Shimin, Emperor Taizong of the Tang Dynasty, and written by Chu Suiliang, with 21 lines and 42 characters. It is written by Hou Shi, the full name of which is "The Emperor of the Tang Dynasty narrates the Tripitaka Sacred Teachings", written by Li Zhi, Emperor Gaozong of the Tang Dynasty, and written by Chu Suiliang, with 20 lines and 40 characters in the right margin.
Both stones are in regular script and inscribed in Wanwen Shao. The current selection is the former stone rubbing. This stele was written by Chu when he was fifty-eight years old. "The Preface to the Holy Religion of the Wild Goose Pagoda" is the work that best represents Chu Suiliang's regular script style. The font is clear and vigorous, and the calligraphy is skillful and sophisticated.
Chu Suiliang had entered old age when he wrote this monument, and by now he had created a complete set of standards for the new Tang Kai script. In the structure of the characters, the long characters of Ou and Yu were changed, creating a font that looks slim but is actually powerful and full.
In terms of brush strokes, both square and circular strokes are used, starting from reverse and stopping from reverse; horizontal strokes are vertical and vertical strokes are horizontal. There are ups and downs between the beginning and the end. There are also ups and downs between the beginning and the end, and the turning and turning are also used. There are certain rules.
Zhang Huaiguan of the Tang Dynasty commented on this book: "The beauty Chanjuan seems to be no less important than Luo Qi, and she is graceful and graceful." Qin Wenjin also commented: "Chu Deng is good at writing, looks like Luo Qi and Chanjuan, and has a bronze and iron-like expression. .
This stele is particularly graceful and elegant, with waves like gossamer. Wan Wenshao (the carver) can convey the subtleties of the twists and turns one by one. The essence of Mo Le is the best among all the stele in the Tang Dynasty. "Wang Yan once commented: "...the prefaces of Tongzhou and Yanta are his own methods, and the copies of "Lanting" that have been handed down from generation to generation are also different from those of his family. The two words "governance" in "Ji" are missing from the final stroke to avoid Emperor Gaozong's taboo.