Li Shimin, Emperor Taizong of Tang Dynasty, was a rare artistic emperor in the history of China. He is proficient in calligraphy, and he has collected famous works of all ages all his life, and also gathered the giants of today's book world. He once ordered the original Lanting to be buried with him, and he lamented the death of a top calligrapher. Li Shimin took this as his teacher and became the first person in the book circle, namely Ou Yangxun, a great calligrapher in the early Tang Dynasty.
After Sui and Tang Dynasties, Ou Yangxun was called "Great Europe". Ou Yangxun is known as "the first regular script in Tang Dynasty" for his rigorous brushwork and precipitous brushwork. Later generations saw the danger of Chinese books and learned them first, nicknamed "European style" "Dream Gone" is the pinnacle of European regular script.
Meng Dian Tie is seventy-eight characters, with no seal. Calligraphy is vigorous, Gu Zhuo. The collection of imperial court in the Southern Song Dynasty is marked by Zhu Wen in the Southern Song Dynasty and Zhu Wen Julian in the Southern Song Dynasty. Later, it was collected by Jia Sidao, Guo Tianxi in the Southern Song Dynasty, Xiang in the Ming Dynasty, Qing Dynasty and Qing Dynasty Palace. This post is written in light ink but not thick, and it is a bald calligraphy. It rotates freely without any mistakes or stagnation. The upper and lower veins are clear, the structure is steady and solid, the pen is calm, the charm is smooth, the body is square and round, and it is charming and vigorous. It was written by Ou Yangxun in his later years, and it is a rare treasure. The paper version of Zhong Ni Monti tie is 25.5 cm long and 33.6 cm wide, which is now in the Liaoning Provincial Museum. The full name of "Sacrificing a Nephew" is "Sacrificing a Nephew for Ji Ming", which is one of the three major calligraphy posts. This book was written in the first year of Tang Dynasty (AD 758). Hemp paper, the running script is 28.2 cm long and 75.5 cm wide, with 23 lines, 11 words per line and 234 words per line. The clock has the seals of "Zhao Gongzi's Name", "Elegant", "Qingxinli", "Pivot", "Qingxinli Uncle" and "Qingxinli". It was once collected by Song Xuanhe's Neifu, Yuan, Xian Yushu, Ming, Qing, Xue, Wang and Qing Neifu, and is now in the National Palace Museum in Taipei.
The Draft for Sacrificing a Nephew was written by Yan Zhenqing in memory of his nephew Yan Jiming who died in the Anshi Rebellion. In the 14th year of Tang Tianbao (755), An Lushan rebelled, and Yan Zhenqing, the prefect of Pingyuan, contacted him from his brother Yan Gaoqing, the prefect of Changshan, to fight against the rebels. In the first month of the following year, the rebel Shi Siming captured Changshan, Yan Gaoqing and his youngest son were arrested and killed one after another, and Yanshi's family was killed more than 30 times. In the first year of Gan Yuan, Tang Suzong (AD 758), Yan Zhenqing ordered Ji Ming's first skeleton to be transported back to Hebei, and wrote this immortal eulogy with tears in his eyes.
As one of Yan Shu's famous "Three Drafts" (the other two drafts are "Competing for a Seat" and "Telling Uncle"), The Draft for Sacrificing a Nephew was once included in the engraving of Song, Ming and Qing Dynasties, imitated by many generations and praised constantly.
Lyricism is the first difficulty in calligraphy creation. The eternal value of Sacrificing a Nephew lies in its frankness. It is a model of writing with sincere feelings and passion, regardless of work, unrestrained and arbitrary. With distinctive personality and unique form, it is the first in history. It is a typical example of expressing ambition, heart and expression in calligraphy creation, which embodies the bold and enterprising spirit and unparalleled artist's courage and mind. The emotional power contained in the work shocked every viewer's heart so strongly that he didn't have time to pay attention to the superficial effect of the form. This is a typical structure of natural beauty.
It is an artistic trick that everyone is familiar with. Calligraphy creation is especially based on deep feelings and true thoughts. The wonderful pen that shakes readers' hearts must be tied to true feelings, lofty and far-reaching spiritual realm, and must become profound thinking. The so-called creation of artistic value means that the general form contains independent existence that the ordinary structure cannot contain. It is not only the existence of matter but also the existence of personality. Embodied in calligraphy creation, it is often a one-time acquisition that cannot be replaced by other things. Sacrificing my nephew is such a work. It is the only form of existence dominated by special feelings. What matters here are sincere feelings and intense emotions. Like a flash of lightning that cuts through the night sky, it is fleeting and irreparable.
Only true feelings can touch people's hearts, especially literature and art. In Roman times, Peganas also emphasized this point when he put forward five sources of lofty style in his classic literary theory "On Sublime". He said: "The first and most important thing is a solemn and great thought, and the second is a strong emotion." And said: "Passion plays an important role in creation and style, which is enough to make the whole structure magnificent and outstanding."
Calligraphy creation is based on emotion, and everything is driven by mind. The vivid images and profound meanings in the works are the result of integrating feelings into the book. "Things can't be changed if feelings are not true, and things can't be opened if feelings are not deep" (Liu Yongji's On Ci). Only to love, to be talented and to think deeply, "feelings can be freely announced and things can be exposed." Especially when it comes to the unconscious, it can create energetic people and novel and wonderful works. Therefore, the supreme masterpiece must be based on deep affection. Although the pen is elegant, ugly and true, its touching degree depends on the emotional power contained in the work.
Sacrificing my nephew is a masterpiece of sincere feelings, a sonata of the soul, a voice of grief and indignation, and an immortal work condensed with blood and tears. Unconscious expression in the state of "forgetting" makes the work produce unparalleled artistic effect. "The drunken man's intention is not wine" and "Xiangzhuang sword dance is intended to repeat itself". He is not writing, but telling his grief and indignation. He is not engaged in artistic creation, but talking to himself affectionately. When the writing is finished, the work is finished, and a masterpiece that no one, including himself, can repeat is produced. This is the secret of creative success, and it is also an example of realizing creative breakthrough at this moment after long-term exploration.
The quality of its lines is rich and comfortable, which is particularly commendable because it fits with the thoughts and feelings of bone-cutting pain. This is the most difficult skill in calligraphy. In the history of China's calligraphy, only this painting is the most vigorous and harmonious. The so-called "dry autumn wind, wet spring breeze" is also the only work that can be used. In Yuan Dynasty, Xian Yushu called it the second running script in the world. "The best running script in the world" has been occupied by Wang Xizhi's Preface to Lanting, so it should be ranked second. In fact, the manuscript of offering sacrifices to nephews is the best running script in the world. "Sacrificing a Nephew" is a model of natural beauty, which can't be done and is straightforward. Although Preface to Lanting Collection is also very beautiful, it is more artificial than natural beauty. Self-Narrative Post is a cursive script written by Huai Su, a calligraphy monk in the Tang Dynasty, and the first cursive script in China. The content is the self-reported experience and experience of writing cursive script, and the evaluation of his calligraphy by literati at that time, that is, the praise of his cursive script by famous figures such as Yan Zhenqing and Dai Xulun at that time. Self-Narrative Post is the longest work handed down by Huai Su, and it is also the representative work of his cursive script in his later years. Wen Mingzhi wrote: "The collection of true books is like a monk entering a sanctuary, and madness is understandable." In the Ming Dynasty, An Qi called this post: "The color of ink and air paper is wonderful and moving, and the vertical and horizontal changes occurred at the beginning, which is mysterious." Paper, 28.3 cm long and 775 cm wide, *** 126 lines, 698 words. The book was written in the 12th year of the Tang Dynasty (AD 777). National Palace Museum in Taiwan. The first six lines were damaged earlier, which made up for the deficiency of Su Shunqin in Song Dynasty. In front of the post, there is the inscription "Self-sequence and Hidden Truth" in the seal script of Li Dongyang in Ming Dynasty, and then there is an inscription in Shaozhou in the fourth year of Southern Tang Dynasty (AD 940). The references are Jianye Shuzhai Seal, Pei's Six Prints Descendants, Four Prints, Xu's Descendants, Wuxiang Seal, Zhao's Collection of Books, Chou He Book, Xiangyin and Gan Longjian.
The content is the self-reported experience and experience of writing cursive script, and the evaluation of his calligraphy by literati at that time, that is, the praise of his cursive script by famous figures such as Yan Zhenqing and Dai Xulun at that time. Self-Narrative Post is the longest work handed down by Huai Su, and it is also the representative work of his cursive script in his later years. Wen Mingzhi wrote: "The collection of true books is like a monk entering a sanctuary, and madness is understandable." In the Ming Dynasty, An Qi called this post: "The color of ink paper is wonderful and moving, and the vertical and horizontal changes occurred at the beginning, which is mysterious."
The self-narrative posts were collected by Neifu in Southern Tang Dynasty, Su Shunqin in Song Dynasty, Shao Ye, Lu Bian, Xu Ganzhai in Ming Dynasty, Xiang, Yu Feng, An Qi and Neifu in Qing Dynasty. The original is now in the Palace Museum in Taiwan. According to Zeng Xingguo's topic, the old masters Mi Yuanzhang, Xue Daozu and Liu Juji wrote the topic, which has now been lost. In the Song Dynasty, Mi Fei recorded for interview, while Huang recorded the rest of the East view, while Qing recorded Mo view. Photocopies are available in Yan Guang Room, Beijing Palace Museum and Cultural Relics Publishing House.