Appreciation of Tang Yin's calligraphy in the Ming Dynasty

Tang Yin's works are particularly easy to compare with Zhao Mengfu because of their beauty and fluency. In fact, there are some differences between Tang Shu's elegant recluse spirit and Zhao Shu's colorful wealth spirit. The characteristics of Tang Yin's calligraphy, such as combining rigidity with softness, combining rigidity with softness and combining rigidity with softness, are more prominent in the collections of Su Bo and Princeton. These two series are handsome in appearance and similar in book style, and both tend to open letters. The structure of words is very neat, mostly independent of each word, and there are few Lian Bi connections. The pen is round and elegant, and the stippling is in place. For example, the words "one" and "ten" are clearly explained, which shows that the basic skills of regular script are excellent. The rhythm is quite relaxed, and the combination of thickness and length is extremely natural, without any traces of affectation. Single oblique pen is bold and quick, Li Beihai's brushwork is obvious, and his bones are strong. The arrangement of composition is also very natural, each metrical poem occupies eight lines, and the number of lines is not consistent, but the vertical line is straight and has a strong sense of form.

However, the book style of Poems of Falling Flowers collected by Liao Bo and China Art Museum is that the lines are biased towards grass. The writing style, writing style and composition are all different from the previous two collections. For example, the word "send" in the first sentence of Liao Bo Tibetan version has been simplified, and it is a cursive knot. When using a pen, the front and side of the pen are exposed, and most of the strokes drawn horizontally are slightly sharp, which brings more freedom to writing. There are a large number of Lian Bi ties in Liao Bo Collection and China Art Collection. The writing is fluent, and the magical machine flows away. For example, the last sentence of Liao Bo's collection "Cocoon Eyebrows" is almost a book, with seven words in one go and the pen goes downstream. The same is true of this sentence in China Art Museum. This shows that Liao Bo Ji is indeed the work of Tang Yin in his later years. In addition, there are very exaggerated brushstrokes in Liao Bo's collection. For example, the word "to" means "to", and finally the vertical painting is exaggerated. Very lyrical The last stroke of the word "Xuan" could have been regarded as a point, but Tang Yin just wrote an exaggerated vertical shape, which gave people a strong shock.

This skillful technique has reached perfection in the collection of China Art Museum, which was written by him one year before his death. The handwriting and strokes of this volume are slightly fat, and the tip is flat. Compared with the early two series, it is a bit old and vigorous. Because of the fast writing, there are jumps and omissions, and lines are added at will, which shows that the writing process is completely emotional. Therefore, the flow of gestures is like running water, giving people a vigorous and stretching momentum. Among them, there are ten poems, the content of which is more vicissitudes than falling flowers. In particular, the last song, "My friends are scattered, my robes are cold, and there is snow in the crock ice", which is soaked in desolation and written in a gloomy and desolate way.