Who are the famous calligraphers in the Tang Dynasty? All calligraphy schools in the Tang Dynasty have made great achievements, including regular script, running script, cursive script, etc., each has its own achievements. In different periods of the Tang Dynasty, a large number of calligraphers also emerged. The four early Tang painters who represented the style of the early Tang Dynasty and were reputed throughout the ages? Ouyang Xun, Yu Shinan, Chu Suiliang and Xue Ji. In the prosperous Tang Dynasty, famous calligraphers such as Zhang Xu, Huai Su, Yan Zhenqing and Liu Gongquan appeared. They created new realms in Kuang Cao and regular script respectively.
In the early Tang Dynasty, the four masters of regular script, Ouyang Xun, Yu Shinan, Chu Suiliang, and Xue Ji, all incorporated rules into their elegant and graceful calligraphy style, paving the way for regular script to reach its peak. Yan Zhenqing, who lived during the prosperous Tang Dynasty and the turn of the Mid-Tang Dynasty, combined the great achievements of his predecessors to create a new style and became the most outstanding representative of regular script in the Tang Dynasty. Yan Zhenqing's regular script is majestic, upright, honest, full of energy, and strict in laws. It has the air of being a teacher for all generations. Su Shi said: Poems are worthy of Du Zhimei, writing is worthy of Han Tuizhi, writing is worthy of Yan Lugong, painting is worthy of Wu Daozhi, and the transformation of the world from ancient to modern times is completed. ?One of the most outstanding similarities between these two works is that they incorporate deep and profound connotations into strict formal specifications. Liu Gongquan, who was slightly later in life, inherited Yan Zhenqing and consciously sought changes. He also integrated the brushwork of Wei stele and Ouyang Xun. He abandoned the fat, heavy and hard bones and focused on clearness and austerity, further perfecting the rules of regular script. However, Yan Liushu is consistent in its basic style. Both are the most typical representatives of the regular script series in the mid-Tang Dynasty.
Ouyang Xun was proficient in seal script, official script, regular script, and running script. Zhang Huaiguan of the Tang Dynasty believed that Ouyang Xun could do all the eight styles in "Shuguan". Yu Shinan also said that he could do whatever he wanted regardless of paper or pen. ?.
Ouyang Xun's calligraphy has become famous as early as the Sui Dynasty and spread far and wide overseas. After entering the Tang Dynasty, he became even more mature in calligraphy, and his calligraphy art reached the level of proficiency. Ouyang Xun's calligraphy achievement is regular script, which is the highest. His calligraphy is powerful and unique in structure. Later generations call it "European style". His regular script originated from the Han Dynasty, and his writing style has a very strict formula, with strong and sharp bones. It is dangerous in the ordinary, and elegant in the rules. The strokes are interspersed and arranged properly, which is most convenient for beginners to learn. The "Thirty-six Methods of Ouyang's Formation" passed down by later generations are the rules of formation summarized from his book. The most famous of his writings are "Inscription on Youquan of Jiucheng Palace", "Stele of Huadu Temple", "Stele of Yu Gonggong", etc., and he is called "the best writing in Tang Dynasty". The monument "Jiucheng Palace Youquan Inscription" was written by Wei Zheng. Ouyang Xun wrote about the discovery of spring water by Emperor Taizong of the Tang Dynasty when he was vacationing in Jiucheng Palace. This stele was erected in the sixth year of Zhenguan in the Tang Dynasty (632). It has 24 lines and 49 characters in each line. Zhao Han's "Graphite Rust Flower" of the Ming Dynasty called this book "the first official book".
Ouyang Xun's regular scripts are most famous for "Zhongni Meng's Diary Calligraphy" and "Zhang Hansi's Perch Calligraphy". Among them, "Zhang Hansi's Perch Tie" is basically consistent with his regular script style. The same method is to win by risk. The center of gravity of the character is pressed on the left side, and a strange stroke is pressed on the right side with a critical force, so that the structure of each character forms a reverse trend, and then the force is applied to the right to turn the danger into safety. , it can be said that "seeking stability in danger, no fun at all". Emperor Qianlong of the Qing Dynasty commented: "It is better than seizing power, and it is more than beautiful." Ouyang Xun also made great contributions to the theory of calligraphy. The "Ouyang Xun Eight Jue" he created has unique insights. The eight techniques are: (point) to point towards the stone falling from the peak; (hengge) to point towards the long The new moon in the sky; (horizontally) wants to reach thousands of miles of clouds; (vertical) wants to reach toward the withered vine that has lived for ten thousand years; (vertical sword) wants to bend upside down toward the strong pine and hang on the stone cliff; (break) wants to reach thousands of miles. The heavy crossbow is about to be launched; (Left) is about to cut off the horns and tusks of the rhinoceros with a sharp sword; (Nu) is about to strike three times. These eight methods will have a profound impact on future generations. Li Chen's Eighty-Four Methods of the Ming Dynasty and Huang Ziyuan's "Ninety-Two Methods of Intermediate Structure" of the Qing Dynasty were inspired by him.
Li Chuanbo's four-foot vertical calligraphy work "Bamboo Song of Fan Gongcong"
This is a calligraphy work written by Cen Shen's "Bamboo Song of Fan Gongcong", which praises the character of bamboo. . Bamboo has been said since ancient times to mean "bamboo brings peace", and it also means to be high-spirited and uplifting.
Bamboo is also a spiritual and cultural symbol of elegance, purity, humility and discipline. There are almost no gardens in ancient and modern gardens without bamboo. If there is bamboo in the house, the bamboo will blow through the windows and the courtyard will be filled with fresh air. The bamboo shadows are whirling, and the posture is like a painting. The green leaves are passing through the winter. Not withered, delicate and chic.
This calligraphy combines reality and reality, with varying shades. It is not difficult to see that the charm of this calligraphy is very close to that of Master Qi Gong, which shows that Master Li Chuanbo's skill has reached an extraordinary level.
This calligraphy work is very good whether it is hung in the living room, study room at home or in the office of a company. It not only plays a decorative role, but also plays a role in improving one's own taste and cultivation, and can be given as a gift to others. It is also a very good choice, and this work is also quite good for investment collection.
Yan Zhenqing was an outstanding calligrapher in the Tang Dynasty. He was a Jinshi and became famous when he was the governor of Pingyuan. Therefore, later generations also called him "Yan Pingyuan". He was upright, honest and honest, and had a sense of justice. He never flatters the powerful and flatters the powerful, and is famous for his strong will. His calligraphy is just like his character, with positive strokes used from beginning to end, so they are all qualitative brushwork of the so-called Yan method. Yan Zhenqing's regular script is contrary to the calligraphy style of the early Tang Dynasty. He used the seal and Liuwang pen, which transformed the thin and hard style into plump and vigorous, succeeding the broad and magnificent style. The bones are strong and majestic. This style also reflects the prosperity of the Tang Dynasty and his nobility. The personality fit is a perfect example of the perfect combination of the beauty of calligraphy and the beauty of personality. Yan Zhenqing's existing calligraphy works include "Duobao Pagoda", "Yan Family Temple Stele", "Yan Qinli Stele", etc. The inscription has its own personality and characteristics, and has an upright but not formal, solemn but not dangerous momentum. However, the strokes are thin horizontally and thick vertically and the feet are too large. Yan Zhenqing is the most innovative calligrapher among them, and Yan style calligraphy has had a profound impact on the art of calligraphy in later generations. Ouyang Xiu once said: "Yan Gongshu is like a loyal minister, martyr, moral gentleman. He is strict and respectful. People are afraid of him at first sight, but as time goes by, he becomes more and more lovable." There must be many of its treasures in the world, but even though there are many, it is hard to get tired of them. Zhu Changwen praised his book: "The points are like falling stones, the paintings are like summer clouds, the hooks are like bending gold, and the weapons are like crossbows. There are images vertically and horizontally, and low and high ambitions. Since the time of Xi and Xian, there has never been anyone like Gong."
Teacher Guanshan's four-foot banner calligraphy work "Zhi Bo Yuntian"
Guanshan, formerly known as Tian Guanchao, pen name Guanshan, courtesy name Tianye, was born in Cangzhou, Hebei Province in 1956. Graduated from the Central Academy of Fine Arts and now lives in Beijing. He is a member of the Chinese Calligraphers Association and a member of the Beijing Calligraphers Association. His calligraphy and painting works have been recognized as "Chinese National Gift Works" by the Expert Review Committee for State Guest Gifts of the State Council, and he has been appointed as a "Special Gift for State Guest Gifts of the State Council" He is a calligraphy and painting artist who enjoys special allowances from the State Council and his works have been collected by leaders of many countries and regions. He is currently an academician and deputy secretary-general of the Chinese Painting and Calligraphy Research Institute, a member of the Chinese Painting and Calligraphy Federation, a member of the Chinese Calligraphy Art Research Institute, and a Chinese calligraphy and painting consultant to the Ministry of Culture. In his early years, he studied Yan Zhenqing's block script fonts, and later specialized in Er Wang's running script, Zhang Xu, Zhao Mengfu and Mi Fu's fonts. Especially in recent years, he has gained considerable knowledge in regular script and cursive fonts. He has won many awards in national calligraphy competitions.
Liu Gongquan was also an outstanding calligrapher in the Tang Dynasty. At the age of 29, he passed the Jinshi examination and served as a low-level official in the local area. Later, Tang Muzong accidentally saw his handwriting and thought it was a masterpiece of calligraphy, so he summoned him to Chang'an. At that time, Liu Gongquan was already in his 40s. He was both strong-minded and meticulous. Similarly, his handwriting also revealed this trait. Liu Gongquan could well summarize the changes and development of regular script from the Jin Dynasty to the Tang Dynasty. He first started with Wang Xizhi's calligraphy, and later specialized in Ou and Yan calligraphy. His calligraphy inherited the characteristics of the majestic Yan style, avoiding the fat vertical paintings of Yan characters, and wrote the horizontal and vertical strokes in a generally even and thin manner; he also absorbed the decisive and sharp-edged characteristics of the square strokes in the Beibei stele, and made the dot strokes It is as sharp and deep as a knife cutting; he also inherited the elegant calligraphy style of the early Tang Dynasty and created "Liu Ti" with his own unique artistic style. From Liu Gongquan to Prince Shaoshi, he was known as "Liu Shaoshi" in the world. He had an upright character and often used calligraphy to sarcastically admonish the emperor. It is said that Emperor Mu Zong of the Tang Dynasty once asked him how to best use his pen. This famous saying was passed down as a "bijian" story by later generations.
Liu Gongquan's calligraphy can be divided into two major styles: one is represented by "Diamond Sutra Engraved Stone", "Feng Su Stele", etc., with rigorous and stable structure, deft and vigorous brushwork, and has the characteristics of the Jin and Tang Dynasties. Since then, regular script has been full of charm and charm. The first category is represented by the "Shence Army Stele" and the "Mysterious Tower Stele", which have changed the charming style of Jin and Tang regular scripts. In addition to being rigorous, they are also open and sparse, with powerful and charming postures, and are self-contained. In short, his calligraphy strokes are decisive, clean, strong and straight, and the structure is rigorous and vigorous. Although he studied Yan, he came up with new ideas, so he was also called "Yan Jin Liu Gu". Liu Gongquan has many handed down works, including the "Diamond Sutra Carved Stone", "Mysterious Pagoda Stele", "Feng Su Stele" and so on. Among them, "Diamond Sutra Engraved Stone", "Mysterious Tower Stele" and "Shence Army Stele" best represent his regular script style. Liu Gongquan's writings include "Fu Shen", "Sixteen Days", "Infamous Questions", etc. Their style still inherits the style of the Wang family, with rigorous structure and natural unrestrained style. There are also ink inscriptions "Mengzhao Tie" and "Wang Xianzhi Sending Pears". The most representative one is the "Mysterious Tower Stele". "Mysterious Pagoda Stele" is a regular script work, written in February of the first year of Huichang (841) by Emperor Wuzong of the Tang Dynasty. The original stele is now in the Stele Forest in Xi'an, Shaanxi Province. This stele is the most famous among Liu Gongquan's calligraphy handed down from generation to generation. It is one of the most influential regular script models in history. Liu Gongquan is a famous calligrapher who has made important contributions to the development of calligraphy art. Because of his profound attainments in calligraphy, he has a high reputation. , so it was valued by later generations. Commentators said: "Books that are expensive, thin and hard can reach the gods". Liu Gongquan's calligraphy succeeded in this way and became a model for later generations to learn from.