Li Si, whose word is right, was born in Shangcai County, Chu (now Shangcai County, Henan Province). He was not only a famous calligrapher in the Qin Dynasty, but also the first innovator recorded in the history of calligraphy in China. It has played a pioneering role in the development of Chinese calligraphy. After Qin Shihuang unified the country, Minister Li Si presided over the unification of the national characters, which was a great achievement in the cultural history of China. Li Si is also a famous calligrapher in Qin Dynasty. He presided over the sorting out of Xiao Zhuan. Lishan Stone Carvings, Taishan Stone Carvings, Langya Stone Carvings and Huiji Stone Carvings are the books written by Li Si. All previous dynasties have a very high evaluation.
Calligrapher of all previous dynasties (Eastern Jin Dynasty)-Wang Xizhi
Wang Xizhi (33-361, 321-379), a calligrapher of Eastern Jin Dynasty, had few words. Originally from Langya (now Linyi, Shandong), he lives in Shanyin, Huiji (Shaoxing, Zhejiang). The officer to the general of the right army will review the internal history and be called "Wang Youjun". He came from a noble family in the Jin Dynasty. When Wang Xizhi was twelve years old, he was taught the theory of brushwork by his father. "If you use an outline, you will realize something." When he was a child, he studied calligraphy from the famous female calligrapher, Mrs. Wei. Later, he traveled across the river to visit famous mountains, learned from others, learned from others, and learned from Zhong You. Observing and learning "how to combine many laws and prepare a family" has reached the height of "being more expensive than others, being the best in ancient and modern times".
Compared with the Han Dynasty and the Western Jin Dynasty, the most obvious feature of Wang Xizhi's calligraphy style is exquisite brushwork and changeable structure. Wang Xizhi's greatest achievement is to increase and damage the ancient law and change the simple calligraphy style of Han and Wei dynasties into a delicate and beautiful calligraphy style. In short, it is the awakening of calligraphy art to introduce Chinese character writing from practicality into a realm that pays attention to techniques and tastes, which indicates that calligraphers not only discover the beauty of calligraphy, but also can express it. There are almost no later calligraphers who have not copied Wang Xizhi's calligraphy posts, so they have the reputation of "book saints". His regular script, such as Le Yi Lun, Huang Ting Jing, Dong Fangshuo Painting Zan, was well-known in the Southern Dynasties, which left various legends, and some even became the subject of painting. His cursive script is respected by the world as "the sage of grass". There is no original trace left in the world, and there are many copies of the calligraphy, such as Seventeen Posts, Theory of Music and Yi in lower case, Huang Tingjing, etc. The ink outline of the copy is filled with a hole in the middle post, a preface to Lanting [Feng Chengsu's copy], a clear post in the snow, a frequent mourning post, a funeral post, a distant official post, an aunt post, a safe post, and a trip post. His "Preface to Lanting" calligraphy is attractive and vigorous, beautiful and fresh, pure and natural. It is a masterpiece of Wang Xizhi's life, since ancient times. Known as the best running script in the world!
Calligrapher of all dynasties (Tang Dynasty)-Ou Yangxun
Ou Yangxun, a letter book, was born in Linxiang, Tanzhou (now Changsha, Hunan). The world says Ouyang leads more. The world calls his words "rate more style". Yu Shinan said that he "can get what he wants without choosing a pen and paper". Besides, he can write a good official script. In the fifth year of Zhenguan, the tablet of Fang Yanqian, the governor of Xuzhou, is his official script work. His calligraphy, with official script as the most. Investigate its use of a pen, which has both roundness and strength. "If you are surprised in the grass, you will send electricity between the clouds. Another example is King Kong glaring and Lux punching. " Among them, strokes such as vertical hook are still official strokes. He wrote the inscription on the stupa of the Zen master in Huadu Temple, the tablet of Yu Gonggong Wen Yanbo and the tablet of Huangfu Birthday, which were called "the first regular script in the Tang Dynasty". No matter whether he uses a pen or a structure, his regular script has a very serious program, which is most convenient for beginners. The "Thirty-six Methods of Ouyang's Knotting Style" passed down by later generations is the law of knot writing summarized from his regular script. His regular script "Zhang Hansi's Sticking to the Perch" is long and vigorous. Ink handed down from generation to generation is especially valuable. Ou Yangxun's son, Ouyang Tong, has a family history of calligraphy. Both father and son are famous in the book world and are called "Ouyang". Xiao Ouyang's "Taoist Master's Monument" has a stronger sense of propriety, but it is too revealing and implicit. Yu Gong Gong Bei, the full name of which is Yu Gong Gong Wen Gong Bei, the right servant of the Tang Dynasty specially entered the Shangshu, commented in Zhao Han's Graphite Engraving: "This tablet is better than Huangfu and Jiucheng, but its calligraphy is neat, not under the second tablet." And sighed: "when the letter has been more than 8, and the law is exquisite."
calligrapher of past dynasties (Tang Dynasty)-Yan Zhenqing
Tang Jingzhao was a man of ten thousand years, and his words were clear. Kaiyuan Jinshi, who moved to the palace to serve as an advisor, was hated by Yang Guozhong, who was the satrap of the plain, so the world called Yan Pingyuan. During the Anshi Rebellion, Yan made great contributions to resisting thieves. He entered Beijing as an official minister, a prince and a founding father of Fenglu County, so he was also known as Yan Lugong. When Li Xilie rebelled in Dezong, the Prime Minister Lu Qi bit hate and made Zhenqing go to persuade him. He was left by Xilie, loyal and unyielding, and was killed.
Zhenqing, a descendant of Langya, has a profound family knowledge and works on letters. From Chu Suiliang and Zhang Xu, the brushwork is dignified and majestic in block letters, imposing in momentum, vigorous and harmonious in running script, changing from ancient method to its own style, which is called "Yan Ti". Song Ouyang Xiu commented: "Yan Gongshu is like a loyal minister, a martyr and a moral gentleman. His dignity and respect are feared at first sight, but the longer he gets, the more lovely he becomes." There are not many people who see the treasure in the world, but they are not tired of it. " Dong Fangshuo's Painting Praise, Duobaota Monument, Yan Qinli Monument, Memorial Manuscript for Nephew, Zhong Xing Song Ma Gu Xian Tan Ji, Yanjiamiao Monument, Book Confession for Seating, etc. are all his masterpieces.
ink marks in Yan Zhenqing's running script in the Manuscript for Sacrificing a Nephew. In Yuan Dynasty, Xian Yushu commented on this post as "the second running script in the world". In this original post, all the thirsty pens and the places where they are held are vividly visible, which can make people see the process of writing pens and the wonderful change of pen tips, and is of great benefit to learning cursive script. The original trace is now in the Palace Museum in Taiwan.
Calligrapher of past dynasties (Tang Dynasty)-Liu Gongquan
Liu Gongquan, with sincere words, was born in Huayuan (now Yaoxian County, Shaanxi Province). Yuan and Chu Jinshi, Li Shi school book lang, Shi Shu bachelor, official to Prince Taishi, known as Liu Shaoshi. He lived in the period of nave, during which he lived in the three dynasties of Mu, Jing and Wen Zong. At this time, the calligraphy reform movement in the Tang Dynasty was basically successful, and the mission entrusted to Liu Gongquan by the times was not to develop but to persevere. Liu Gongquan's historical achievement was that he inherited Yan Lugong's achievements with creative spirit and achieved the historical theory of "Yan Jin Liu Gu", which drew a perfect full stop for the construction of calligraphy style in the Tang Dynasty. "Old Tang Book" says: "The public power first learned Wang Shu, read modern calligraphy all over, and became a family of its own. At that time, the tablet of the minister's family was not allowed to write in calligraphy, and people thought it was unfilial. When foreigners pay tribute, they don't sign money, so they buy willow books here. " He learns Yan characters, but he can create new ideas by himself. Known as "Yan Jin Liu Gu" in the world, it points out the differences of their calligraphy. Liu avoids the fat vertical paintings of Yan, and writes the horizontal and vertical paintings generally evenly and thinly. He also absorbed the sharp and angular advantages of Chinese calligraphy in the North Monument, and made stippling as crisp and deep as a knife. He also learned from the tight structure of European regular script and the vertical trend of Yan Zhenqing regular script, and wrote a unique Liu Ti.
Calligrapher of past dynasties (Song Dynasty)-Huang Tingjian
Lu Zhi, a Taoist in the Valley, Fu Weng, was born in Xiushui, Jiangxi. Later generations called him Yellow Valley. "Biography of the History of Song Dynasty and Wenyuan" said: "Tingjian learned articles naturally, and Chen Shidao said that his poems were learned by Du Fu, and he was good at cursive writing, and his writing style was also unique. Traveling with Zhang Lei, Chao Buzhi and Qin Guan in Sushimen is called the Four Bachelor's Degree in the world. " He himself said: "I studied cursive script for more than 3 years, and I took Zhou Yue as my teacher at the beginning, so I was full of tacky for 2 years." Su Cai Weng was late, and Zi Mei's view of the book was written by the ancients. Later, I got the ink of Zhang Changshi, Huai Su and Gao Xian, which is a glimpse of the wonderful brushwork. "
His running scripts, such as Song Feng Ge and Su Shi's Poems and Postscripts on Cold Food, use a pen like Feng Ban's Miscellanies of Blunt Songs: "The pen starts from the painting, returns to the left wrist, actually draws to the right residence, but jumps again, just like a cloud meets the wind and goes back." He wants to start from the right to the left, from the Tibetan front in the painting to the left pen, and then flat out, "nothing flat or vicious", and deliberately change the pen; Back to the front of the pen to hide the clever. Be good at hiding the front, pay attention to setbacks, and give people the feeling of "calm and happy" by "painting bamboo as a book" Its structure comes from Yan Lugong's "Baguan Pavilion will be reported", and the middle palace is tightened, radiating from the center to the outside, stretching horizontally, such as paddling and propping up a boat, with great boldness of vision and imposing manner. His personality is very obvious. To learn his calligraphy, we should pay attention to the "calmness and happiness" of the stippling pen and the extensiveness of the structure. As for his cursive script, Zhao Mengfu said: "Huang Tai's history books have the meaning of Zhang Changshi's round strength." "If you are an elegant person, it is admirable." We can see that his poem "Poetry of Flowers and Spirits" is vigorous, clumsy rather than clever, fat and thin, and "abnormal and vigorous". Its charm is no less than regular script. "Please be seated" and "the brushwork is fluttering and leisurely" are even more rare masterpieces.
Calligrapher (Song Dynasty)-Wang Anshi
Wang Anshi (121-186), whose name is Jiefu, was born in Linchuan, Fuzhou (now Jiangxi). Politicians, writers and thinkers in the Northern Song Dynasty. Wang Anshi's calligraphy is simple and far-reaching, which won the wonderful use of pens by people in Jin and Song Dynasties, and is often greatly imitated by the soil. "The Outline of Yan Jing" volume, paper book, 29.9 cm in length, is the main book, and every two texts are connected, with 72 lines of scripture, ranging from 23 to 36 words. Tang Dynasty's translation of Yan Jing. Ten volumes. Wang Anshi excerpted from Guanyin's wonderful ear door, from Wen Sixiu. This volume, in the middle of the main book, has a running script, a light ink book, and a clear stroke. Although the lines are close, there are few blanks, but there is no sense of dazzling. Now it is in Shanghai Museum.
calligrapher of past dynasties (Song Dynasty)-Su Shi
Zi Zhan, whose name is Dongpo Jushi, was born in Meishan (now Sichuan). He and his father, Su Xun, and his younger brother, Su Zhe, are well-known in the world for their poems, and the world is called "Sansu". His calligraphy draws nutrition from the "Two Kings", Yan Zhenqing, Liu Gongquan, Chu Suiliang, Xu Hao, Li Beihai and Yang Ningshi, and strives to innovate on the basis of inheriting the tradition. When he talked about his calligraphy, he said: "The method of writing characters is superficial and limited, and the three can't be perfect in the end, but I have everything in my mind." When he talked about his artistic creation of calligraphy, he said: "I can't make a book by heart, and I am tired of asking for it." He focuses on "meaning" and sends his feelings to the stippling of the book by "Letter Hand". On the basis of his profound understanding of calligraphy art, he used traditional techniques to create calligraphy art, and enriched and developed traditional techniques in calligraphy art creation, instead of simply and mechanically removing the old. He used special methods different from ordinary people in writing methods, and also paid attention to the reform of writing tools. His representative works include Black Clouds in the Sky, Poems on Spring in Dongting, Poems on Song Lao in Zhongshan, Poems on Spring Post, Poems on Love of Wine, Poems on Cold Food, Poems in the Middle of Shu and Notes on Drunken Pavilion, etc.
"Huangzhou Cold Food Poetry Post" by Su Shi. It is the masterpiece of Su Shi's running script. This is a poem sent to revive, and it is a sigh of life caused by the Cold Food Festival in the third year of Su Shi's demotion to Huangzhou. The poem is desolate and affectionate, expressing Su Shi's melancholy and lonely mood at this time. It is in this mood and situation that the calligraphy of this poem comes out. The whole calligraphy is full of ups and downs, radiant and unrestrained, and there is no shortage of pens. Huangzhou Cold Food Poetry Post has a great influence in the history of calligraphy, which is called "the third running script in the world" and is also the best among Su Shi's calligraphy works.
Calligrapher of all dynasties (Song Dynasty)-Zhao Mengfu
was born in Huzhou (Xing Wu, Zhejiang), with the name Ziang, also known as Taoist Cedar and Taoist Crystal Palace. Descendants of Song Taizu's son Qin Wang Defang. After the demise of the Song Dynasty, he returned to his hometown to live in seclusion. Later, he was recruited by Yuan Shizu, and served as an official in the Five Dynasties. He was appointed as a scholar of Hanlin, and Dr. Rong Lu was appointed Duke of Wei and Shi Wenmin. He is good at seal, official seal, official seal, official seal, official seal, official seal and official seal. He is the author of Song Xue Zhai Ji. Zhao Mengfu was an influential calligrapher in the early Yuan Dynasty. According to the biography of the History of Yuan Dynasty, "Meng Fu's calligraphy and calligraphy are all the best in the world, so he took the title of the book as the world". High praise. According to Song Lian, a Ming Dynasty scholar, Zhao's calligraphy learned the book "Lingling (that is, Zhao Gou, Song Gaozong) of" Understanding Eight Ways "at an early age, learned" Zhong You and Xi Xian "at a middle age, and learned from Li Beihai in his later years. In addition, he also visited Dingding Monument in Yuan and Wei Dynasties, Yu Shinan in Tang Dynasty, Chu Suiliang and others, which was a great achievement of previous generations. Just as Wen Jia said, "Wei Gong's calligraphy was superior to that of the ancients, and all of them imitated it." Therefore, Zhao's success in calligraphy is inseparable from his ability to learn from others' long-term punishment. What is particularly valuable is that most calligraphers in the Song and Yuan Dynasties were only good at lines and cursive styles, while Zhao Mengfu was able to delve into various styles. His articles are out of date and bypass the study of Buddhism and Taoism. Many people learned Zhao Mengfu's calligraphy in later generations, and Zhao Mengfu's words were very popular in Korea and Japan. There are also excellent works in Zhao's regular script, such as Sanmen Ji, which has a wide structure, deep and steady structure and smooth brushwork, and is most suitable for copybooks. Most of Zhao's works handed down from generation to generation are running letters, most of which are accurate with pens and strict words, such as Fu on the Red Wall, which is a classic.
Calligrapher of all ages (Ming)-Tang Yin, one of the "Four Masters of Ming Dynasty" in Tang Yin, is known as the first gifted scholar in the south of the Yangtze River in the middle of Ming Dynasty. He is knowledgeable and versatile, reciting poems and composing music, being good at writing and painting, and experiencing ups and downs. He is an outstanding great painter in the history of Chinese painting.
Tang Yin's name is Bohu, and his name is Ziwei. He is the owner of the Peach Blossom Temple, Tang Sheng of Lu, the immortal who escaped from Zen, Jieyuan of Nanjing, and the first romantic genius in the south of the Yangtze River. In his later years, he believed in Buddhism, and there were six nicknames such as lay people. Wuxian (now Suzhou, Jiangsu) people. Tang Yin was born in a merchant's family, and his status was relatively low. Under the guidance of "making a name for himself", he studied hard. At the age of 11, he was excellent in literary talent and wrote a good hand. At the age of 16, Zhong Xiucai took the Yingtian Township Examination in Nanjing at the age of 29 and won the first prize of "Xieyuan".
Tang Yin's calligraphy is hidden by the name of the painting. He mainly learns from Zhao Mengfu and is influenced by Li Beihai. He is graceful and charming, and his brushwork is mature and free and easy, but his brushwork is slightly weak, and his hook is soft and his structure is slightly loose. Therefore, Wang Shizhen commented: "Bohu entered Xing Wu Hall, but his ears were weak."
Calligrapher of past dynasties (Qing Dynasty)-Deng Shiru
Deng Shiru, from Huaining, Anhui Province, whose original name was Yan, whose name was Shi Ru, and whose name was Wanbai Mountain, used the word "Yan" to avoid being taboo by Renzong in Qing Dynasty. Born into a poor family, the ancestors' personality of "hiding virtue but not showing glory", their studies of "learning to be honest" and their unruly personality have a subtle influence on his growth. At the age of 2, I began my life's travel career, wandering around the rivers and lakes, looking for teachers and friends everywhere. All his life, accompanied by hard work and self-motivation, the whole content of his life devoted to art is almost the word "making friends" I don't want Wen Da, I don't want glory, I don't want to be moved by foreign things, I don't want to enter the official career, and I always keep the true colors of cloth. This is a pure artist's free and easy life.
At that time, people spoke highly of Deng Shiru's calligraphy, saying that "all four styles are excellent, and the country is the first". His calligraphy is the most outstanding, and the achievement of seal script lies in Xiao Zhuan. Taking Si and Bing as his teachers, his Xiao Zhuan is a little long, but he creatively combines the brushwork of official script, boldly uses the long front and soft hair to raise the ups and downs, which greatly enriches the use of seal script, especially in his later years. The lines are round and thick, majestic and boundless, which creates a typical example of seal script in Qing Dynasty and makes an immortal contribution to the development of seal script art. Lishu has benefited a lot from the long-term immersion in Han steles. It can write Lishu with the meaning of seal script, and with the strength of Wei Bei, its style is naturally unique. Regular script didn't start with Tang Kai, but traced back to its source, directly adopting Wei Bei and using Fang Bi. The strokes made it convey the meaning of Li, and the structure did not seek justice by the method of horizontal light and vertical weight, left low and right high, and it was ancient and simple, which was out of tune with the customs of the times, showing the spirit of being brave in exploration. Comparatively speaking, his cursive script is not as profound as seal script, which is the view of most people, so I won't repeat it here. Deng Shiru's seal cutting is also worthy of a special book. I will discuss it with you in ancient seal cutting.
Calligrapher (Qing Dynasty)-Wu Changshuo
A famous painter and seal engraver in the late Qing Dynasty. Formerly known as Jun Qing, Chang Shuo, alias Kutie, from Anji, Zhejiang. When he was a teenager, influenced by his father, he was fond of writing books and printing.