Regular script is the basis for learning calligraphy. As long as the basic skills of regular script are solid, learning other calligraphy styles will be a breeze. What I bring to you below is the appreciation of pictures of exquisite works of regular script calligraphy_a collection of pictures of regular calligraphy works. I hope you like it. Table of Contents
Appreciation of a comprehensive collection of regular script calligraphy works
Members of the Four Masters of Regular Script
A brief discussion of the artistic charm of regular script and a comprehensive appreciation of regular script calligraphy works
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<<< Members of the four major groups of regular script
The Four Masters of Regular Script are the collective name for the four calligraphers who are famous for their regular script in the history of calligraphy. They are also called the Four Great Regular Scripts. They respectively refer to: Ouyang Xun (European style) of the Tang Dynasty, Yan Zhenqing (Yan style) of the Tang Dynasty, Liu Gongquan (Liu style) of the Tang Dynasty, and Zhao Mengfu (fǔ) (Zhao style) of the Yuan Dynasty.
1. Ouyang Xun (557-641), courtesy name Xinben, was born in Linxiang, Tanzhou (now Changsha, Hunan). His greatest achievements in calligraphy are regular script, with strong penmanship and unique structure. Later generations called him "European style".
Ouyang Xun of the Tang Dynasty: His rigorous and powerful writing is known as "the best regular script among the Tang Dynasty people". His representative work is "Jiucheng Palace Liquan Ming".
2. Yan Zhenqing (709-784), courtesy name Qingchen, was born in Jingzhao ten thousand years ago, and his ancestral home is Linyi, Tang Dynasty (now Linyi, Shandong). In the history of calligraphy, he is the most accomplished and influential calligrapher after the two kings. His calligraphy was first studied by Zhang Xu, the "Grass Sage", who was one of the four masters of the early Tang Dynasty. Later, he adopted the ancient method and reversed the calligraphy style of the early Tang Dynasty. He used the seal script to transform thin and hard into plump and powerful, with a broad and magnificent structure. , with strong bones and majestic spirit, this style also reflects the prosperous demeanor of the Tang Dynasty and fits with his noble personality. It is a perfect example of the perfect combination of the beauty of calligraphy and the beauty of personality.
Yan Zhenqing (Yan Ti) of the Tang Dynasty: His regular script is dignified and majestic, and he is known as "Yan Ti" in the world. His representative works include "Yan Qin Li Stele", "Yan Family Temple Stele", "Duobao Pagoda Stele" and "Magu Immortal Altar" .
3. Liu Gongquan (778-865), courtesy name Chengxuan, was a native of Jingzhaohua in the Tang Dynasty (now a native of Tongchuan, Shaanxi). He rose to the rank of crown prince and grand master, and was known as "Liu Shaoshi" in the world. Later generations called them "Yan Jin Liu Gu" and became the model of calligraphy in the past dynasties. His calligraphy is strong, rigorous and meticulous. In terms of character characteristics, it is famous for its thinness and strength. The regular script written in it has a strong and charming body and strong bones and legs. Running script and regular script are the most exquisite.
Liu Gongquan (Liu style) of the Tang Dynasty: His regular script is clear and strong, rigorous in structure, exquisite in brushwork, and straight and straight. He is known as "Liu style" in the world. His representative works are "Mysterious Pagoda Stele" and "Shence Army". monument".
4. Zhao Mengfu (1254-1322): named Zi'ang, nicknamed Songxue, a Songxue Taoist, and a native of Wuxing (now Huzhou, Zhejiang). He was good at seal script, official script, official script, running script, and cursive script, and was especially famous for his regular script and running script. According to the "History of the Yuan Dynasty," "Meng Fu's seal script, official script, official script, and cursive script are all the best in ancient and modern times, so he is famous all over the world for his books." "Zi'ang's Seal Script" by Yushu of the Yuan Dynasty said: "Zi'ang's seal script, Li, Zhen, Xing and Biancao are the best in the contemporary era, and his small regular script is the first among all Zi'ang's books." His calligraphy style is charming, elegant and coherent. Strict and neat, with sophisticated brushwork, it is known as "Zhao style" in the world.
Zhao Mengfu of the Yuan Dynasty: His regular script is round and delicate, upright and rigorous, without losing the elegance and elegance of his running script. He is known as "Zhao Style" in the world, and his representative work is "Xuanmiao Temple Rebuilding the Three Gates".
<<< A brief discussion on the artistic charm of regular script
In today’s cultural context, the calligraphy of literati or writers has increasingly formed a cornerstone of Chinese calligraphy. As calligraphers among writers, their calligraphy works have distinct characteristics of literati. No matter which angle they are viewed from, they all have a strong literary style. This is a significant difference from professional calligraphers.
How to treat a writer's calligraphy works has become the focus of current hot discussion in the calligraphy circle. Experts generally believe that a writer's calligraphy works should be separated from his literary works, and the calligraphy art he engages in should not be separated from his literary works. Being shrouded in the aura of a writer, or rather not following the writer’s literary reputation, to explore the message of his calligraphy. Putting aside other artistic talents, just talking about his calligraphy, he should be top-notch, recognized by experts, loved by the public, and recognized by society. Calligraphy talent has nothing to do with the writer's status or reputation. The work placed there must be of a genuine calligraphy standard, not a so-called "celebrity name." "Celebrity calligraphy" means having people first, and then talking about the characters, while authentic calligraphy means having the characters first, and then talking about the people. Of course, "people" and "words" also influence each other and set off each other. Good character naturally determines the quality of writing. Only with virtue and art can the work stand up.
Looking back at history, there are many modern and contemporary writers active in the literary world who can write excellent calligraphy works. Calligraphers are considered to be worthy of the name. Lu Xun, Guo Moruo, Mao Dun, Ye Shengtao, Shen Congwen, Lao She, Yao Xueyin, Zhou Erfu, Sun Li, Li Zhun, Liu Zheng, Zhao Changqing, Li Jing and others can all create a rich and colorful world of calligraphy in addition to literature.
There is no reason for writers to reject or stay away from calligraphy. Calligraphy is a treasure of Chinese culture. It has been practiced in China for more than five thousand years and is particularly loved by literati of all dynasties. Calligraphy comes from words, and words nourish calligraphy. Writers love calligraphy. It should be said that such a flesh-and-blood relationship has been established since the day writing began. Why do writers love calligraphy? To be precise, I personally think there are at least the following reasons why writers who love calligraphy are obsessed with calligraphy: First, it is determined by the most basic elements of Chinese traditional culture. Literature and calligraphy belong to the splendid "literary civilization" composed of Chinese characters and characters that come from the same source in our country. Literature and calligraphy come from the same origin, and practitioners have the gene of calligraphy. Second, it can brighten and moisturize the writer's artistic temperament and multi-dimensional image from the inside out, making the extension of the writer's artistic characteristics more beautiful and perfect, which in turn can make the writer more confident and open-minded. At the same time, it effectively enhances its artistic reputation, extends its artistic field, and infuses its artistic strength. Third, crossing the art world is conducive to absorbing richer artistic nutrition, and can also make a large number of friends in the calligraphy world. Make friends with literature and make friends with books, so that literature and calligraphy can collide with each other to create more brilliant artistic sparks. The fourth is to realize "nurturing literature with books", that is, using the writer's calligraphy works to nourish the writer's literary creation. At present, there are very few writers in our country who can get royalties from writing. Most publications not only do not make money, but also have to dig into their own pockets. Therefore, using calligraphy to supplement literary creation is undoubtedly a good model. With the development and improvement of my country's calligraphy market, writers, especially famous writers, can earn considerable income from higher-end calligraphy works, thus achieving the mutually beneficial development of literature and calligraphy. Of course, most writers do not do it for income. Some of them cultivate their sentiments, some express their artistic emotions through calligraphy, and many of them are dedicated to public welfare. If someone has an organization asking for their calligraphy, they will get great psychological satisfaction. Take no penny.
Writer's calligraphy has become an indispensable and important part of the field of Chinese calligraphy. In reality, some people like the writer's calligraphy works. When asked why they like the writer's calligraphy works, they say more about their feelings: they feel that the writer's calligraphy has the taste of the writer, the depth of the writer, and the agility of the writer.
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