There were six famous calligraphers in the Tang Dynasty, who occupied a prominent position in the history of calligraphy. In the early Tang Dynasty, Europe, Yu, Jun and Xue were all exotic flowers, among which they had the greatest influence. In the middle and late Tang Dynasty, two famous writers of regular script, Yan Zhenqing and Liu Gongquan, appeared. Yan Shu is very fat and Liu Shu is very thin, which is called "Yan Liu Jin Gu" in the world. Yan Zhenqing and Liu Gongquan are both great calligraphers who have far-reaching influence on later generations.
Later generations often refer to Yan Zhenqing's calligraphy, Du Fu's poems and Han Yu's writings as Tang Wenhua's Three Musts. In the history of calligraphy art, there are opinions of Yan, Liu, Ou and others on regular script, led by Yan Zhenqing. People often compare it with Wang Xizhi, a "book saint", who thinks that Wang takes calligraphy first and regular script strictly first. Others say that Wang Xizhi's running script Preface to the Lanting Pavilion is the first running script in the world, and Yan Zhenqing's sacrificial manuscript is the second running script in the world. These and so on, are enough to show his outstanding achievements in calligraphy art.
Yan Zhenqing (709-785), a native of Wanzhao, was a scholar in the Kaiyuan period of Tang Dynasty, and lived in Xuanzong, Susong, Daizong and Dezong Dynasties. He used to be the magistrate of Pingyuan, and was named the founding father of Zulu County, called "Yan Pingyuan" or "Yan Lugong". He is upright and upright, living in the turning point of the rise and fall of the Tang Dynasty. In the late Xuanzong period, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang, Yang After the An Shi Rebellion, he was a staunch opponent of rebellion and division. As an important minister of the country, he risked his life and tried his best to quell the rebellion. He finally passed away at the age of 76. His personality was admired by later generations.
Yan Zhenqing's calligraphy is a beginner of Chu Suiliang. Later, he studied under Zhang Xu and learned the theory of using a pen, which can be seen from his book Twelve Meanings of Zhang Changshi's brushwork. Yan Zhenqing learned from Zhang Xu's brushwork and made a qualitative leap in his understanding of the art of calligraphy. In fact, his research on calligraphy art is quite extensive. He knew something about Zhuanli, Beibei and the popular folk classic writing at that time, and finally formed his "Tang Shu" with strong vitality.
There are about 70 kinds of ink and rubbings in Yan Zhenqing's calligraphy works. Among them, the most famous regular script includes Monument to Many Pagodas, Ode to a Star in the Tang Dynasty, The Story of Magu Xiantan, Monument to Yanjia Temple, Monument to Guojia Temple, Sacrifice to My Nephew, and Competing for Seats. Here is a brief introduction to the main points.
The Monument to the Duota was written by Yan Zhenqing at the age of 44. Generally speaking, this monument is the place where he became famous in his early years. However, although the calligraphy of this monument is "colorful" (the postscript of Sun Mingkuang's calligraphy and painting), compared with his later regular script, it obviously has not formed its own style and characteristics. This stippling structure obviously has some characteristics of Europe, Henan, Chu and Shu in the early Tang Dynasty. But this post is dignified and clean, and its strokes are round, which has always been valued by people. It is quite convenient for future generations to learn Yan from this post and get its brushwork, and then learn other posts of Yan.
Painting a Monument in Dong Fangshuo was written in print by Yan Zhenqing at the age of 46. This monument is also called "Dong Fangshuo Painting Praise and Preface". Tianbao was established in Dezhou (now Laoling, Shandong Province) in the 13th year. Wang Xizhi, a book sage, once wrote "Praise of Dong Fangshuo's Painting" in small letters. So many people think that he is studying Wang Shuzhi's works. Su Dongpo once said that "Lu writes monuments, but paints praises" is a clear hero, and his words and deeds are not lost in Qingyuan. Later, when I saw Shao Yi's book, I knew that there was the word Lu Gong in it. Although the size is hanging, the luck is still good. "("Dongpo Inscription and Postscript "Volume 4) The structure of Dong Fangshuo Painting Praise Monument is indeed the same as that of the two kings, but the brushwork has changed. He stressed that the pen is being used to penetrate the center of the back of the paper. Obviously, the writing practice after Professor Zhang Xu taught "Draw sand with a cone, Yin Yinni" has been accepted, and the profound power revealed in this article is consistent with his later mature works. This is an important step for Yan Zhenqing to link the past with the future. He is still studying and exploring. This post can only be regarded as a transitional work for Yan calligraphy to mature. Yan Zhenqing's regular script, called "Yan Ti" by later generations, was basically completed after he was 60 years old. These works include Li Yanqin Monument, The Fairy Altar of Magu, Ode to the Prosperous Tang Dynasty and Yan Jia Temple Monument.
The so-called comprehensive innovation of strict regular script means that he has written a unique regular script completely different from the so-called "southern post" and "northern monument" since the end of Han Dynasty.
It can be said that before Yan Zhenqing, Ou, Yu, Chu and Xue, represented by Zhong and Wang, inherited regular script with their own characteristics, but they failed to break through the barrier of regular script greatly. This kind of regular script pen is light and delicate, and the gesture of stippling is charming and moving. Most horizontal paintings are left low and right high. In a word, if there are vertical paintings, most of them are left light and right heavy, on the contrary. Structurally, in Yan Zhenqing's previous regular script, all the characters were left-handed and right-handed, with the left lower and the right higher, so as to achieve the effect of elegance and agility. Moreover, most of his previous regular scripts were less than inches, and there were almost no real big regular scripts. As a kind of regular script, the North Monument is mostly made by Fang Bi, and its overall feature is that its structure is round inside and outside, because it is mostly written by folk calligraphers. So although it is called heavy Jane, it is not very artistic. At this time, in Yan Zhenqing's place, he has extensively studied predecessors' works, but he is not in a rut, but is innovating in an all-round way. In Tibetan, the pen is used in the front and middle, emphasizing the strength of the wrist and arm, pointillizing to draw a circle by taking advantage of the situation, making horizontal painting light and thin, and making vertical painting heavy, which shows the three-dimensional sense of the characters in the comparison between horizontal painting and vertical painting. Structurally, it also broke the traditional regular script structure and adopted a horizontal and vertical structure, which was symmetrical left and right. Every time there is a vertical picture in each word, it also changes the opposite direction of regular script and hugs each other. Turn flattery into integrity and elegance into dignity. Because of his comprehensive innovation in writing style and structure, his regular script presents a solemn and broad atmosphere, giving people a brand-new feeling and really creating a set of rules for regular script writing. Regular script in Yan style has become a typical book list, and the writers of later books often express it in Yan style, which is enough to prove the success of his innovation.
Ma Zonghuo's "Tree Algae" said: "In the early Tang Dynasty, Jin was a miscarriage, and he was always dependent on others and failed to stand on his own feet. When Yan was arrested, ancient laws were incorporated into new ideas, and new laws were born out of the ancient meaning. Vientiane, Tao Zhu is crowded with people ... so it became a book of the Tang Dynasty. " This is to evaluate Yan Zhenqing's calligraphy works from the height of calligraphy history, and think that Yan-ti regular script is a kind of calligraphy that is really different from his previous calligraphy style and can reflect the spirit and prosperity of the Tang Dynasty. During the Tang Dynasty, from the Zhenguan period of Emperor Taizong to the Kaiyuan and Tianbao periods of Emperor Xuanzong of Tang Dynasty, a situation of political openness, social stability and economic prosperity was formed. In this case, social thought, culture and art are also very active, which correspondingly reflects a healthy and progressive social fashion and advocates vigorous development, clarity and prosperity. In line with the political vastness and material richness, what people in the Tang Dynasty appreciate most about natural flowers is the elegance of peony, and the beauty of human body is also appreciated as the fullness and obesity of Yang Yuhuan. Painting in the Tang Dynasty advocated richness, so did calligraphy in the Tang Dynasty. Emperor Taizong's evaluation of Xi and his merits and demerits means that Wang Xianzhi's calligraphy is as thin as a "hungry official". Relatively speaking, Yan Zhenqing's plump and vigorous calligraphy just satisfied the appreciation psychology of people in the Tang Dynasty. It is not unreasonable for Ma Zonghuo to call it "Tang Shu".
Generally speaking, people appreciate Yan Zhenqing's calligraphy, and what they appreciate most is his "strength" and "strength" between the lines, which is the embodiment of his personality strength. Yan Zhenqing lived in the prosperous Tang Dynasty to the middle Tang Dynasty. His calligraphy works can be said to show the vigorous strength of the country and his own enterprising spirit in the prosperous Tang Dynasty. However, when the Tang Dynasty went downhill after the An Shi Rebellion, he, as an important official of the imperial court, asked himself to maintain the rule of the Tang Dynasty with Confucian personality. This spirit is reflected in his calligraphy as a sense of fortitude and tenacity. This is very different from Wang Xizhi's calligraphy, which is elegant and exquisite. However, we don't want to belittle the artistic value of Wang Xizhi's calligraphy. From the perspective of calligraphy history, Wang Xizhi's calligraphy is innovative, and Yan Zhenqing's regular script has opened up a new realm on this basis. From the perspective of pure art, it is obvious that Yan Di's regular script further clarifies and simplifies the statutes and writing rules of regular script, and has a set of simpler and clearer rules to follow when using pens and knots. This is also an important reason for the popularity of Yan-style regular script in later generations. From this aspect, it should be an indisputable fact that the artistic content of Yan Zhenqing's regular script is far less than that of Zhong Wang's regular script.
Yan Zhenqing's running script is the most famous one, which is "Sacrifice to My Nephew" and "Zuotie". The Manuscript for Sacrificing a Nephew, also known as the Manuscript for Sacrificing a Nephew and Ji Ming, was written in the first year of Gan Yuan, Tang Suzong. Although paying homage to the nephew is a family matter, it is closely related to state affairs. In the 14th year of Tianbao reign of Emperor Xuanzong of the Tang Dynasty, An Lushan and Shi Siming rebelled from Yuyang. At that time, Yan Zhenqing was appointed Governor of Pingyuan, and his brother Yan Gaoqing was appointed Governor of Changshan. At the same time, he launched a crusade against rebellion. Ji Ming, the youngest son of Yan Gaoqing, had exchanged information. After the fall of Changshan, Yan Gaoqing and his son were killed and martyred. Three years later, the Anshi rebellion subsided. Yan Zhenqing sent people to Hebei to search for the whereabouts of HD family. As a result, only Ji Ming's skull was brought back from Changshan. Yan Zhenqing was deeply saddened, but he wrote this "Sacrificing Nephew Manuscript". Because my enemies hate stuffing my chest and scribbling when writing, I have long forgotten all kinds of artistic expressions in calligraphy creation. However, because his artistic skill has reached a high level, he has shown more and more natural brushwork in his free use and achieved a high degree of harmony and unity of content and form. So that it is considered by later generations to be the most precious running script after Wang Xizhi's Preface to Lanting.
Liu Gongquan (778-865) was born in Jing. He was another great calligrapher after Yan Zhenqing in Tang Dynasty. It is also one of the most influential regular script writers. His regular script, called Liu Style, has always been an important script for regular script learners, and it is often a model for beginners to learn regular script.
Liu Gongquan, at the age of 88, lived in the middle and late Tang Dynasty and experienced seven dynasties: Tang Xianzong, Mu Zong, Jing Zong, Wenzong, Wuzong, Xuanzong and Zong Yi. In his twenties, he passed the imperial examination and became an official in the DPRK. He has successively served as Right Pickup, Bachelor of Science, Right Vacancy, Foreign Secretary and Doctor of Advice. Being an official by the emperor's side all his life can be described as a prosperous career and wealth. However, if we take a look at the biography of Liu Gongquan in the Book of Old Tang Dynasty, we will know that he is just an idle official who has read and written books all his life. Or it can be said that the only thing he likes in his life is calligraphy. Historical biography records his events related to calligraphy art, which are talked about by later generations. For his "pen remonstrance", see "Biography of Liu Gongquan in Old Tang Dynasty":
The word "public power" is sincere, teenagers are eager to learn, and twelve talented people are lyrical. Yuan Hechu, Jinshi, assistant minister, secretary of the provincial school book lang.
Li Tingzhen Zhou Xia became the responsible secretary. When Mu Zong ascended the throne, he went to play, and the emperor summoned him and said, "I will wait for you at the Buddhist temple."
I've been thinking about your handwriting. "Today thanks to the right gleaning, fill the Hanlin bachelor's history books, move to the right to fill a vacancy, and seal the secretary Yuan Wailang.
Mu Zong, a reclusive politician, asked what the public power pen was for. He said to him: "Use a pen in your heart, and your heart is always there." Change your ability and understanding.
His pen was also reprimanded.
"Correct heart and correct writing" has become a well-known story in Liu Gongquan's "Advice on Writing". As far as common sense is concerned, calligraphy can hardly become an art at the end of the six arts. For feudal scholars, calligraphy is only related to self-cultivation and has nothing to do with governing the country and leveling the world. Liu Gongquan ingeniously replied to the pun of "the heart is right and the pen is right", which not only poured into the wonderful decision of calligraphy pen, but also played a role in satirizing the emperor's sincerity in governing the world. Therefore, the art of calligraphy seems to have some connection with governing the country. Therefore, Liu Gongquan's "pen admonition" was passed down as a beautiful talk.
However, in Liu Gongquan's view, it is not clear whether this matter is intended to "remonstrate" with calligraphy. Tang Muzong is not a good emperor, fatuous and absurd, ignoring discipline. Hearing Liu Gongquan's words, "changing his face" may just be his sensitivity; Maybe none of these are, but they are just an outstanding pen of historians. But for Liu Gongquan, it is inevitably a compliment. Therefore, Mr. Qi Gong's Poem on Books says:
It is more tempting to talk about the truth from the pen, but even more confusing to fools.
What is the book tablet asking the heart? Monks praise the imperial army.
But in the final analysis, Liu Gongquan was able to stay in history because of his accomplishments in calligraphy. The so-called dare to speak and dare to remonstrate, he just wants to add a little bright color to the emperor courtiers who are calligraphers. For him, the most brilliant thing in Historical Records is about calligraphy. Because of his calligraphy, he was promoted to a bachelor's degree and served as a book assistant, which was loved by several emperors in succession. So his position as a calligrapher is more and more prominent.
Liu Gongquan has this value. Who in the world doesn't think Liu Shu is Mo Bao? Who doesn't regard getting Liu Shu as an honor? There are two sentences in The Biography of Liu Gongquan in the New Tang Dynasty: "At that time, the epitaph of the minister's family was not his pen, and people regarded his descendants as unfilial." Boy, people have put Liu Gongquan's calligraphy on the line again, and it is also linked to the vital feudal ethics. Another sentence says, "Anyone who goes abroad to pay tribute will say,' This is a willow book'". Its reputation is very long, and it is not limited to China. Liu Gongquan is rich because of good books. He gave all the treasures he got to his two servants, seagull and Long An. The Lord does not manage money, but the servant loves money. When he seizes the opportunity, the servant will enrich his wealth. On one occasion, a silver cup of Liu Gongquan disappeared. He asked the seagull, who pretended not to know. Liu Gongquan was silent for a moment, saying that it was probably "silver cup feathering". To say that Huai Su is a foreigner, and it is a kind of detachment to love calligraphy and not to fast or worship Buddha, then Liu Gongquan is a foreigner. He doesn't ask questions, he doesn't love money, and he is very confused.
All fools know calligraphy, how to innovate the art of calligraphy, and how to write their own Liu Tishu.
Liu Gongquan's books handed down from ancient times include The Diamond Sutra, Thirteen Lines of Ode to Luoshen in Wang Xianzhi, Postscript of Pear Sticking, Du Renjing, Yinfu Sutra, Pure Sutra, Heart Sutra, Old Age Sutra, Lanting Sutra, Epitaph of Madame Su, Li Sheng Monument, etc. Most of them are regular script and running script. The most representative ones are his regular script "Diamond Sutra", "Mysterious Tower Monument" and "Shence Army Monument".
The full name of the Diamond Sutra is the King Kong Prajna Paramita Sutra. Tang Changqing carved stone in 824, and Liu Gongquan was 42 years old. This post is the earliest work of Liu seen today. Photocopy was published in China. This post has initially shown the style characteristics of "Liu Ti". After the evaluation of Liu Gongquan's Biography of Old Tang Dynasty, "there are bells, kings, Europe, danger, Chu and the earth, which are particularly proud." It shows that he has integrated the strengths of various families and become one of his own, but his strength is unhealthy and his age is not enough.
The mysterious pagoda monument written by Pei Xiu and Liu Gongquan was erected in the first year of Tang Huichang (84 1). Liu Gongquan is 64 years old with the inscription 15 12. The original stone is now in Xi 'an Forest of Steles. Tang Tuo and Song Tuo are the best rubbings handed down from ancient times. "Books are expensive, thin and hard, and they are inspired by spirit." The biggest feature of this monument is that it is thin and hard. The so-called "Yan Gu", this post is Liu Gongquan's masterpiece of winning by strength. Mr. Qi Gong commented on this post in "Introduction to Calligraphy" and said: "His calligraphy is dignified and beautiful, basically symmetrical from left to right, light in horizontal direction and heavy in vertical direction, short and stout in horizontal direction, with his right shoulder slightly raised; Slender, with clear head and tail; The vertical painting is powerful and the brushwork is clean and neat. On the whole, it is mainly inhibition and extension. This kind of artistic style with powerful pen, tight words, profound, rich and round is a successful work of Liu Gongquan's inheritance and integration of Jin and Tang Dynasties. "
The full name of "Shence Army Monument" is "Emperor Xunxing Zuo Shence Army Ji Shengde Monument", written by Cui Xuan and written by Liu Gongquan. Tang Wuzong Huichang built a stone in Chang 'an Palace for three years. The original stone has been lost, and the first volume of Song Tuoben is missing pages, which is now in Beijing Library. The next volume is unknown. This monument was made by Liu Gongquan at the age of 66, two years later than the Xuanta, and the word is slightly fatter than the Xuanta. If the mysterious tower is clear, then the Shence Army reveals a clear heroic spirit. The A Qing Dynasty commented on this post: "The Monument to the Sage of the Shence Army written by Liu is the first wonderful work in his life." However, the influence of this monument is not as good as that of the mysterious pagoda.
In the Tang Dynasty regular script art garden, Liu Gongquan was the latest one in terms of time sequence. However, his achievements and fame were second only to Yan Zhenqing's, and surpassed those of Europe, Henan, Chu and Xue in the early Tang Dynasty. In principle, the innovation space of regular script is the smallest, and the greater it is in the future. The harder it is to write your own paragraph. But Liu Gongquan did it, and he did it well. So how did Liu Gongquan create his new body?
"Biography of Liu Gongquan in the Old Tang Dynasty" said: "Wang Shu (Wang Xizhi, Wang Xianzhi), a beginner of public power, read through the close-up paintings and became his own family." "("Six Books after Down's Family ") Dongpo only grasped his main points, not as good as the rest. Dong Qichang said: "Liu Cheng hung up his books and tried his best to change the right army law, but he didn't want to look like Mao Tie (Essays on Painting the Zen Room), and only emphasized the new side of his reform. Liu Xizai, a Qing Dynasty man, checked them one by one and said, "Liu Cheng hangs a book, and Huadu Temple is published in the Li Sheng Monument; This mysterious tower comes from the strict Guojia Temple. To "Yizhou Zhao Pu Temple Monument", although written by Liu Shu, it is vigorous and graceful, similar to the King of Chu. " This comparison is not unreasonable, but it also shows off a little modesty. Looking at the comments of the above scholars, Lao Tang Shu is the most appropriate one. Imagine that Liu Gongquan lived for 88 years, and he should have more than 70 years of clinical experience. He should have learned everything about printing, official, truth and practice for more than 70 years. "Old Tang Shu" said that he "read the brushwork of modern times (that is, Tang Dynasty)", which means that he had extensive and in-depth research on regular script in Tang Dynasty. Among them, Ou Yangxun and Yan Zhenqing's regular script should be the most effective. Or it can be said that the pen is effective in Europe, and the structure is strict and effective, which eventually formed his "charm" Liu Tishu.
If Liu Ti calligraphy is unique, what is Liu Gongquan's greatest contribution to regular script?
It can be said that Liu Gongquan was the last perfect calligrapher in the Tang Dynasty. When people talk about calligraphy, they often say that the Tang people "respect the law", but in fact they mainly refer to regular script. In the early Tang Dynasty, regular script and Yan Zhenqing were also famous for respecting the law. But they are not as good as Liu Gongquan's regular script, and the requirements for statutes are so high and strict. His pen and stippling are unparalleled, and his arrangement structure is unparalleled in rules and rigor. According to the author's learning experience, learning Europe, Yu, Chu, Xue and Yan Zhenqing is like climbing a mountain. Learning from Liu Ti is like climbing a wall, which is thankless. The reason is that his statutes are too strict and too clever. Such strict statutes and exquisite skills may not be a good thing in terms of artistic expression, so most of the later generations' comments on Liu's regular script are included in the wonderful works, but few people regard it as a miracle. However, in the standardization of Chinese character writing, there is a complete set of writing norms and clear protocols to follow, which undoubtedly makes Liu Ti more useful and beneficial to beginners. This is also an important reason for Liu Ti's popularity in later generations.
Apart from the fact that Liu Ti's regular script is more standardized than other great calligraphers in the Tang Dynasty, when it comes to the characteristics of Liu Ti, that is, what the world calls "Yan Liu Jingu", Liu Ti won by "strength". This shows that people appreciate the obvious difference between Yan and Liu, but there is little difference between Yan and Liu in structure, which means that Liu inherited the structural characteristics of Yan. However, the structure of Yan body is different from that of Liu Ti. The stippling of Yan body is horizontal and thin and vertical, and the symmetrical vertical paintings on both sides are mostly surrounded by each other, forming a trend of tight outside and loose inside. Liu style, on the other hand, is arranged in a stippling style, which means everywhere and is rigorous everywhere. Pay special attention to the compactness of the middle uterus, forming its structural characteristics of tight inside and loose outside. Yan's style is strong in imposing manner, while Liu's style is strong in strictness. If you judge a person by his appearance, Liu is not as good as his face; if you judge a person by his appearance, his face is not as good as Liu. The book takes the divine color first, and the form and quality second. Known as "Yan Liu" in the world, Yan Shu is a wonderful product, and Liu Ti is a wonderful product. That's the reason. But whether God is good or wonderful, its realm is beyond the reach of ordinary calligraphers.
Liu Gongquan also has running scripts such as Preface to Lanting Collection and Zhao Meng Post. The famous biography of Haiyue commented on him as "a Taoist in the mountains, with a cultivated attitude and no worldly customs." It can be seen that his running script attainments are not shallow. Liu Gongquan's calligraphy art had a great influence at that time. His contemporaries, such as Shen Chuanshi and Pei Xiu, got married after learning from Liu Ti. As for the later generations who learned Liu Ti, it goes without saying.