Calligraphy appreciation of the preface to the sermon on Yanta

The preface to the sermon on the Wild Goose Pagoda was written by Chu Suiliang at the age of 58, and it is the most representative work of Chu Suiliang's regular script style. The font is beautiful and vigorous, and the brushwork is skillful and mature. Chu Suiliang was old when he wrote this monument, and so far he has created a set of norms for the new Tang Kai.

Structure: In the structure of characters, it changed the long characters of Europe and Yu, and created a slim but full font. Wang Zhuo once commented: "... The preface of the two holy religions, Tongzhou and Yanta, is his own law, and the Lanting book handed down from generation to generation is even different from the rate. Gai also has his own loom. " Among the characteristics of Chu Suiliang's calligraphy, the whole calligraphy works are mostly arcs, and even short lines have a sigh mood. The extensive use of arcs adds softness and euphemism to the original straight and solid basic strokes. When Chu Suiliang began to write, he turned the pen upside down slightly, then pulled it back and turned the waves upside down. These pens make Chu Suiliang's calligraphy look lively, not limited to the original form. The preface to the Big Wild Goose Pagoda is slender and handsome, even if it is a complex twist, it is meticulous and has no regrets. Chu Suiliang inherited the brushwork of literati and calligraphers, but he was able to grasp the importance and inject strength into the writing process.

Brush: Fiona Fang's brush combination is used in The Preamble to the Sermon of the Big Wild Goose Pagoda. Horizontal painting is vertical, vertical painting is horizontal, there are ups and downs between the head and tail, and there are certain rules in lifting and returning. Zhang Tang Huaiguan's evaluation of this book is: "The beauty Chanjuan seems to be no less than Luo Qi, and the protagonist is very graceful." Qin also commented in the Qing Dynasty: "Chu Deng's good books are shaped like Luo Qi and copper and iron." This monument is particularly graceful and elegant, and the waves are like gossamer. You can spread out the nuances of the turning point one by one. The essence of Moeller is the crown of all the historical sites in the Tang Dynasty. "The preface to the sacred teachings of Yanta introduced a new style of regular script in Datang, so Chu Suiliang was rewritten in the history of calligraphy. In the early Tang Dynasty, Ou, Yu and Chu were called calligraphy circles, but it was Chu Suiliang who really opened the door to regular script in the Tang Dynasty. Looking at Yan Zhenqing and Xu Hao in the middle Tang Dynasty, it can be said that the calligraphy style in the middle and late Tang Dynasty was inspired by Chu Suiliang, especially the preface to the Wild Goose Pagoda is more innovative. -Wang Yougui's Preface to Chu Suiliang and the Wild Goose Pagoda.