Multiply, because there will be successful ears. Yang Shoujing commented on the famous tablet of the Sui Dynasty, Longzang Temple Tablet: "Zhengping worships harmony as Yongxing (Yu Shinan), Wanli as Yu (Chu Suiliang), and the dangerous state without Xin Ben (Ou Yangxun)." Fiona Fang is great, blending the north and the south in one furnace, and it is the first in Tang Kai. Ou Yangxun and Yu Shinan were both calligraphers who entered the Tang Dynasty from Sui Chen. Later generations mostly discussed the calligraphy of Sui Dynasty in the style of Europe and Yu Shu. Mo Youzhi's postscript "Longzang Temple Monument" said: "That was when the early Tang emperor became emperor." This shows the close relationship between the calligraphy style of Sui Dynasty and that of early Tang Dynasty. China's calligraphy developed from Wei, Jin, Southern and Northern Dynasties to Sui Dynasty, with few official scripts, seal script became a masterpiece, and the calligraphy of truth, line and cursive script became popular all over the world. The Tang Dynasty continued the calligraphy style of the Sui Dynasty, inherited the tradition of taking calligraphy as the teaching in the Zhou Dynasty, taking scholars by books in the Han Dynasty, and setting up doctors in calligraphy in the Jin Dynasty, and established calligraphy science, opened two museums, Hong Wen and Chongwen, and trained a large number of senior calligraphy talents. As a result, the study of calligraphy in the ruling and opposition parties has become a trend, and the art of calligraphy has developed unprecedentedly, with the development of famous seal script writers and official seal scripts, such as seal script Li, Tang Xuanzong and Han Zemu. The development of true cursive script is far ahead, which has opened up a broad space for development.
Several emperors in the early Tang Dynasty were good at calligraphy, especially Emperor Taizong, who advocated Wang Xizhi, and had a great influence. Li Shimin's calligraphy is far from Wang Xizhi's, close to Yu Shinan's, and abides by Wang's demeanor. After Liang Wudi, Wang Xizhi's calligraphy was the second climax, which established Wang Xizhi's unshakable position in the world of calligraphy. Yu Shinan, a great calligrapher in the early Tang Dynasty, is a direct biography of Wang Shu, who inherited Wang Xizhi's seven grandchildren. Ou Yangxun was also a king in the early days, and later the north and the south merged. Zhu Suiliang is worried about Europe because of the king. It can be seen that the formation and development of regular script in Tang Dynasty has a deep relationship with Wang Xizhi's calligraphy.
In the early Tang Dynasty, both Yu and Ou said that Chu Suiliang came out late, and Yu and Ou became the three most influential ones.
Ou Yangxun (557-641) is called "European style" or "more elegant style" internationally, because it is more important for him to be an official and a prince. Ou Yangxun's book, "Wang Xizhi wrote at the beginning, but I saved it after danger" (Biography of Tang Dynasty), was the most innovative calligrapher in the early Tang Dynasty. predict
Shi Nan said that Ou Yangxun's book "didn't choose paper and pen, but everything was satisfactory". "For a moment, people got their letters, but they thought it was a model." (Guo Tianxi) His calligraphy skills are well-known at home and abroad, and North Korea and Japan are also competing for the construction of European calligraphy. He was an influential calligrapher in the early Tang Dynasty. He is a good official, and his official script has a square monument. His achievements in regular script are higher than those in official script. Representative works include Huangfushengchen Monument, Gong Yu Monument, Huadu Temple Monument, Jiucheng Palace Liquan Monument, etc. , is Tang Kai's masterpiece, especially his masterpiece "Jiuchenggong Liquan Ming" in his later years. His brushwork is vigorous and powerful, and his meaning is precise and extensive, which is Tang Kai's masterpiece. Ou Shu has both Fiona Fang and Pan, seeing danger in the middle, and the statutes are new; Rubbing the north wind into Wang Ti is famous for its danger and intensity. The book review in the Tang Dynasty said that his books were "like snakes in the grass, like thunderbolts in the clouds, like staring King Kong, like a fist-wielding giant", and "like spears and halberds in the armory" (the end of the book) were influenced by the book style of the Northern Dynasty, and the artistic rules of European characters came from the "Eight Laws" and "Thirty-six Laws" summarized by later generations. Ouyang Tong, the son of Ou Yangxun, was called "Little Europe" by the world. His calligraphy originated from his family's research. The predecessors' evaluation of his masterpiece "Taoist Monument" is: "The posture is strict and elegant, but there is little implicit interest." (Shu Lin Zao) Asia, a European book.
Yu Shinan (558-639) was named "Yu Yongxing" because he was supervised by officials and secretaries. His book is inherited from Wei, Jin and Southern Dynasties, and it is wonderful to learn the book of wisdom and courage in his early years. Abide by Wang Xizhi's statutes all his life, round and introverted, rigid and soft, out of the north wind, bearing more than enough and making less than enough. Yu Shinan, the calligraphy teacher of Emperor Taizong of Tang Dynasty, enjoys a high position in the calligraphy field. At that time, many calligraphers were studying Yu Zi. He was an influential calligrapher in the early Tang Dynasty, just like Ou Yangxun. His style of writing, such as "White cranes are like clouds, and people are leaning on the top of the mountain" (Talk about Guang Yi and Zhou Shuang), is vigorous and open, and keeps Jiang Zuo's style of being clear-minded but not angry. Confucius Temple Monument is a masterpiece of regular script, which is characterized by simple and elegant words, rounded brushwork without revealing edges and corners, and leisurely brushwork like a cone painting sand. So there is a state of bones and muscles, soft outside and rigid inside; It is a typical work to draw a grand outline by using the technique of Wang's infighting. The calligraphy of the running script "The Epitaph of Princess Runan" is ethereal and scattered, but it is direct.
The last rhyme of Wang Xizhi. In the era when Wang Shu prevailed in Shinan, there was a saying that Yu was superior to Europe. Lu Jianzhi was also a famous calligrapher in the early Tang Dynasty. His book was written by his uncle Yu Shinan, and Zhang Huaiguan evaluated his model and running script. His books are rarely circulated, and his book style can be seen in the ink of Wen Fu.
Chu Suiliang (596-658) was a good man, 40 years later than Europe and Yu. His father Chu Liang is one of 18 bachelors. Chu Suiliang is a famous scholar. He works as a servant of books. When Emperor Taizong died, he was an important political figure from Emperor Taizong to Wu Zetian. His books "Serve the Puppet Guards when I was a child, and sue my ancestors for the army when I was a long time" (Shu Duan) and "My father's good friend Ou Yangxun is very heavy". (Biography of the Tang Dynasty) In his later years, his books were both dangerous and European, inheriting the highest achievements of calligraphy in the early Tang Dynasty, with the elegance of Yu Shu structure and the strength of European calligraphy. The brushwork has developed, such as the ups and downs of lifting and pressing, which has formed its own style and characteristics and promoted its development. It is the representative of European, Yu Zhiyan, Liu and other calligraphers.
At the beginning of Chu Shu's life, it was very important for the world to learn from Wang Xizhi and Yu Shinan. After Yu Shinan's death, Emperor Taizong asked Wei Zhi because no one discussed books with him. Wei Zhi recommended: "Chu Suiliang wrote hard and won Wang Yi's youth." Judging from the brushwork and structure of his earlier "A Que Buddhist Shrine Monument" and "Master Meng Monument", although the brushwork has changed, it has not escaped the danger and European style. In his later years, the Square Monument and the Preface Monument of the Wild Goose Pagoda have obviously changed compared with the previous period, which embodies the calligraphy characteristics of Chu Suiliang. Its dots are thin and full, round and thick, such as Yin Yinni. Fiona Fang uses both a brush and a pen, which is characterized by ups and downs, ups and downs, and ups and downs. Tang Kai's brushwork came to Chu Suiliang, where it was further enriched and developed, forming the norms of the Tang Dynasty. The preface to the sacred teachings of Yanta is fluent, harmonious and natural, elegant and vigorous. The lyrics are broad, graceful, correct and melodious, and the emotional integration is more European and full of danger. It can be said that "words are golden, lines are smooth, rules are Wen Ya's, and beauty lies in many aspects". (Book Review of the Tang Dynasty) As soon as the new style of Chu Shu came out, the world immediately imitated it. Even when Chu Suiliang was killed for opposing the establishment of Wu Zetian and his official title was taken away, his title remained unchanged.
Never stop learning. In the Qing Dynasty, Liu Xizai said, "The main educator in the south of Chu River" revealed the great influence of Chu and Shu.
The famous scholars who studied Chu Shu in Tang Dynasty were Xue Qi, Xue Yao, Zhong Shaojing, Wei and Lv Xiang. Xue Ji, the best scholar of Chu calligraphy, followed suit and reached a chaotic level. At that time, there was a saying called "buying the first snow without losing the festival." Xue Shu is famous for being thin and powerful, and is the predecessor of Song Huizong's "thin book". Xue Ji's representative work, The Inscription of a Monk in the Faith, had the reputation of orchids at that time, and was equal to Europe, Henan and Chu, but it was difficult for him to compete with the three schools because he did not break away from the style of Chu calligraphy.
Although there were many calligraphers in the early Tang Dynasty, the most influential ones were Ou, Yu and Chu. They represented the highest level of calligraphy in the early Tang Dynasty, formed the standard of regular script in the early Tang Dynasty, shaped the typical artistic image of regular script in the early Tang Dynasty, laid a solid foundation for the new development of Yan Zhenqing and Liu Gongquan, and made an indelible contribution to the development of Chinese calligraphy art.