Is the mysterious brushwork in Jin and Tang Dynasties really isolated from the world?

What exactly is the brushwork in Jin and Tang Dynasties? Why do those calligraphy masters put all their life's study in books? Liu Chuyu, a tern in regular script, is the second king in running script. Why are these people pioneers of calligraphy, while the latter can only inherit and not create another situation? After writing Jin and Tang brushwork, there should be a number.

First of all, let's separate Jin law from Tang law. Jin method and Tang method are two different methods. The Golden Method refers to the calligraphy of the Eastern Jin Dynasty represented by Wang Xizhi's calligraphy, and the Tang Method refers to the Tang calligraphy represented by Liu Chuyu, a tern.

Calligraphy in the Eastern Jin Dynasty advocates nature, and the simplicity of the pen contains skills and twists and turns, so that no details are left, so that later scholars often sigh: There is no way to learn gold? Because they put pen to pen, their movements are extremely slight but accurate. Now we see that many temporary learners of Lanting Preface have added too many things, and the fonts are fleshy and have nothing to do with the rhyme.

In the Tang Dynasty, the brushwork changed obviously. Want to be left first and then right became the writing criterion of the Tang Dynasty, and the Tang people respected the law. They know that it is too difficult to reach the superb realm of Wang Xizhi, so it is better to settle for the second best and summarize the clues in Wang Xizhi's calligraphy, which has become the symbol of calligraphy in the Tang Dynasty.

Before the formation of regular script (Jin Dynasty), the brushwork was mainly twisting. With the appearance of regular script, lifting pressure gradually occupied the dominant position of brushwork and reached its peak in the Tang Dynasty. After the Tang Dynasty, people often made a fuss about the two ends of strokes, and completed the brushwork between lifting and pressing, which made the strokes lighter. It was not until the appearance of cabinet style in Qing dynasty that the disadvantages brought by pressing body were brought to the extreme.

In the Tang Dynasty, the twist has not been lost, so the trace of twist can be seen in Chu Yukai's book in Europe and Huai Xu's running script. At the same time, calligraphers also call it seal brushwork, such as in Bei? Nice job? Four words.

If a teacher doesn't know the brushwork and can only teach according to his own experience, calligraphy will be farther and farther away from the truth.