Liang Guozhi calligraphy vermicelli noodles

Wang Wenzhi cursive script collection, inscription, couplets, fans, etc. Wang Wenzhi's regular script The Inscription of the Second Man Wei Huan? Wang Wenzhi's "Self-Written Poetry" was written in 50 years (1790), and Wang Wenzhi was 60 years old. Now in Duoyunxuan. ? Wang Wenzhi was born in Beijing (1730- 1802), whose real name is Yu Qing, whose real name is Meng Lou, and worked as an apprentice in Jiangnan (now Zhenjiang, Jiangsu). In the twenty-five years of Qianlong (Chen Geng, 1760), he was a writer and calligrapher in the Qing Dynasty and the third scholar of Yijia (exploring flowers). The official Hanlin Academy edited and studied, went to the magistrate in Lin 'an, Yunnan, and went home. ? His poems, books and calligraphy all got the essence of Dong Qichang, which is as famous as Liang. Wenzhi usually likes to use light ink to express the charm of simplicity and elegance, which is called "exploring flowers with light ink" and "Hanlin with light ink". He is good at painting ink plums, and his charm is outstanding. He has a school of Tang and Song poetry and is proficient in temperament. ? He is the author of twenty-four volumes of Poems on the Dream Tower, Inscriptions and Postscripts on the Fast Rain Hall, and Thirty Poems in Books, which have been handed down from generation to generation. ? Wang Wenzhi was famous for his calligraphy all his life. He studied calligraphy under his predecessor Da Zhongguang in his early years, and was deeply influenced by him. His regular script teacher studied from Chu Suiliang, and his cursive script teacher studied from Preface to Lanting and Preface to Saint Education. However, Qian Yong thought that he was learning from Zhao Meng's efforts, and his hat left his heart even thicker. He didn't make a fuss about it, but he made a fuss about it. His brain in Guangdong was stained with Muzaina. Besides the influence of Junichi Watanabe and Dong, there is another factor that cannot be ignored: after middle age, I devoted myself to Zen, paying special attention to calligraphy related to Buddhist scriptures. He once studied Zhang Jizhi's calligraphy, so his writing style is as flat and thin as that of Zhang Jizhi and Da Zhongguang. Wang Wenzhi likes to use long-edged wool and blue-black light ink in his books, which is in harmony with his natural and elegant writing style. Therefore, Liang Shaoren said in "Essays on Two Kinds of Autumn Rain Halls in Qing Dynasty": "Liu Shi 'an in Zhou Dynasty focused on courage, and the dream building was too defensive to focus on fengshen, so he had the ambition of' the prime minister is thick with ink, and exploring flowers is light with ink' since his death." He also compared him with Liu Yong and Liang, thinking that he copied calligraphy in middle age, so he embarked on a frivolous road, just like Qiu Nian, with a thin figure and good posture, but not serious. Although this theory is derogatory, the metaphor of Wang Wenzhi's book style is quite accurate. This kind of "Qiu Niang Bo Powder" formula can also be used as the basis for authenticity identification. From the analysis of the original works handed down from generation to generation, Wang Shu's brushwork is soft, Mo Yun is light, the lines are white, generous and ethereal, and his style is extremely graceful and graceful, which is close to Dong Qichang's calligraphy style and has more charm. That charming and romantic state is hard for counterfeiters to emulate. No wonder there were "three beams in the world (referring to beams, beams, and beams) not as good as one king in the south of the Yangtze River"? According to Wang Chang's "Biography of Huhai Poetry", "Qing Yu is especially good at calligraphy, learning from Henan, and his calligraphy is effective in Lanting and winning teaching; When entering the capital, literati value it. " In fact, by the time Wang Wenzhi was in his twenties, his title had been widely circulated. In the 21st year of Qianlong (1756), Quan Kui and Huang Zhou went to Ryukyu. The two envoys appreciated the title of Wang Wenzhi and specially invited him to accompany them. Wang Wenzhi readily agreed. Ryukyu people are good at calligraphy. When they learned that Wang Wenzhi was a famous calligrapher in China, they spent a lot of money on books and regarded them as treasures. At that time, the title of Wang Wenzhi was very popular in Ryukyu. At that time, Koreans came to China to buy Wang Wenzhi's calligraphy with cake money, and the reputation of calligraphy spread far and wide overseas. When Emperor Qianlong visited the south of the Yangtze River, he saw his book "Monument to Qiantang Monastery" in Hangzhou Temple, and he loved it. Thanks to the appreciation of Emperor Qianlong, Wang Wenzhi's calligraphy reputation was greatly improved, widely circulated and treasured by scholars. Many Japanese museums treasure Wang Wenzhi's original works. For example, the Tokyo National Museum, the nearby Fujii Kaicheng Museum in Kyoto, the Okinawa Prefectural Museum and the Oita Prefectural Museum all have Mo Bao in Wang Wenzhi. ? His calligraphy is neat and messy, compact and restrained, and his ink color is mainly light, which is really a symbol of Dong Qichang's calligraphy style. Wang Wenzhi faithfully adhered to the significance of postal service, but it lacked the charm and fluency of traditional postal service. His book uses few pens and many folds, mainly folds, which are decisive and neat. Thin and hard strokes are slightly rounded, charming, handsome and luxurious. When the wind blows away, the pen tip reveals the characteristics of talent and comeliness everywhere.