Chu Suiliang's words
Chu Suiliang's calligraphy is the work of many directors. When Chu Suiliang first came into contact with calligraphy, he learned Yu Shinan's fonts, but in his later years, he added Zhong You's and Wang Xizhi's brushwork to Han Li, forming a colorful and fluent font, thus forming his own family, and he was called the four great calligraphers in the early Tang Dynasty with Ou Yangxun, Yu Shinan and Xue Ji. In the Book Review of the Tang Dynasty, Chu Suiliang's ci was described as "rich in words, gentle and elegant, and beautiful." .
Chu Suiliang's handwriting makes people feel comfortable, round and very beautiful. There is a saying of Chu Suiliang in history. According to legend, after Yu Shinan's death, Emperor Taizong felt very sorry that no one could accompany him to discuss books. Zheng Wei recommended Chu Suiliang in front of Emperor Taizong, saying that "Chu Suiliang's pen is vigorous and won Wang Yi's body." Wang refers to Wang Xizhi, not Wang Xizhi's words.
Emperor Taizong was fascinated by Wang Xizhi's writing, but in Wei Zhi's view, Chu Suiliang was very knowledgeable about Wang Xizhi's writing, and of course he had the ability to distinguish Wang Xizhi's original works. Indeed, as Zheng Wei thought, Chu Suiliang can correctly identify Wang Xizhi's font, and any fake can't escape Chu Suiliang's eyes. When appraising Wang Xizhi's original work for Emperor Taizong, Chu Suiliang told Emperor Taizong how he distinguished the authenticity. From then on, Emperor Taizong admired Chu Suiliang's vision from the bottom of his heart.
Chu Suiliang's Painting Characteristics
*** 1*** stippling. As far as stippling is concerned, Chu Suiliang's pen is very flexible, and stippling embodies Fiona Fang. His stippling combines center and side, hidden front and exposed front. And there are oblique points, vertical points, vertical points, dots, jumping points and so on. In order to express the different strokes of stippling, Chu Suiliang wrote oblique points like falling rocks on the summit, and vertical points mostly used elbows to borrow momentum. Chu Suiliang's hanging points are like water drops, and the dots look dignified and complete, and the picking points are somewhat imposing.
***2*** painting. Drawing is the extension of pointillism. Chu Suiliang wrote and drew pictures in one go, with proper strength.
***3*** horizontal painting. There are two kinds of horizontal painting: long horizontal painting and short horizontal painting. Chu Suiliang's long horizontal painting is elastic, with the pen reversed, and the middle slightly bulges to form a radian; His short horizontal line is concise and well executed.
***4*** Vertical painting. Chu Suiliang's vertical paintings, whether long or short, are straight and vigorous, and the force is finally withdrawn.
***5*** sketch. There are two kinds of skimming: Chu Suiliang's long skimming is suitable for using a pen, and his tail is used to make power; Short pen makes power, short and powerful.
***6*** Si painting. Chu Suiliang's paintings are from light to heavy, full of Han Li characteristics.
***7*** sketch. The hook painting in the preface to the sermon on the Wild Goose Pagoda is changeable in shape, simple and full.
***8*** overlapping paintings. There are two kinds of folding paintings: square folding and round folding. Chu Suiliang's origami paintings are very coherent in the transition process.
The story of Chu Suiliang
When Chu Suiliang's father worked in Li Shimin Literature Museum, he had the opportunity to get in touch with Ou Yangxun, Yu Shinan and others. Under their guidance, Chu Suiliang's calligraphy has made rapid progress. But Chu Suiliang also made great efforts in this process. There are also some short stories about Chu Suiliang's diligent study of calligraphy.
When Chu Suiliang was learning calligraphy from Yu Shinan, one day he asked Yu Shinan who was better at my calligraphy than Zhiyong. Yu Shinan smiled and told Chu Suiliang that Zhiyong's calligraphy could sell for 50,000 yuan a word. Is your handwriting ok? So Chu Suiliang asked again, How can I compare with Ou Yangxun's calligraphy? Yu Shinan shook his head this time and said, Ou Yangxun can write well with any pen and paper. Can you do it? Hearing this, Chu Suiliang became dejected and despondent, and asked when I would reach such a state. So Nan told Chu Suiliang earnestly that it is necessary to practice diligently, and both brushwork and brushwork need to cooperate with each other to write good calligraphy, which is the highest realm of calligraphy. So Chu Sui left happily, studied hard and finally became a generation.