China is a country of poetry, and it is also a country of calligraphy. Poetry with language as the carrier and calligraphy with lines as the carrier belong to different art categories and have different forms of expression. However, both use words as an opportunity, which makes their integration possible. The reason why the author proposed the phenomenon of *** is derived from Mr. Chen Zhenlian’s incisive judgment in the book "Calligraphy Aesthetics": "In the country of poetry, the aesthetics of poetry determines the aesthetics of other arts. The aesthetic content of artistic conception in calligraphy is obvious The art of poetry and the art of calligraphy "have extremely obvious traces of penetration both in spiritual concepts and specific forms." That is to say, the two are not only richly comparable but also have obvious interpenetration phenomena. Looking for concrete examples from the long history of Chinese culture, Du Fu's poems and Yan Zhenqing's words are just a footnote to this phenomenon.
Before analyzing this phenomenon, the author believes that we should briefly outline the characteristics of the times at the turn of the prosperous and mid-Tang Dynasty when Du Fu and Yan Zhenqing lived. However, in view of the fact that this important historical period has many Since Fang Jia has written an article and it is a familiar topic in academic circles, this article will not go into details. However, the author believes that the ideological concepts of the society at that time must be emphasized in the writing of this article. By the first half of the eighth century, in a wealthy and relaxed economic environment, Confucianism gradually became "a text for memorization and emergency response. It lacked the power of inner belief and the meaning of practical life" and gradually "lost the ability to diagnose and criticize the social problems of the time." ability",2 its unified status has been shaken. By the time of Empress Wu, Buddhism such as Huayan Sect was strongly supported by the rulers. Because Buddhist teachings provided spiritual comfort to those scholars who failed to seek fame, they were widely spread among scholar-bureaucrats. Under Xuanzong's personal annotation of Laozi's "Tao Te Ching" and the addition of doctors of metaphysics, Taoist thought became popular for a time. In the middle of the Tang Dynasty, when Confucianism, Buddhism, and Taoism were all in parallel, the ideological world was in urgent need of an idea that could integrate people's hearts and maintain the unity of national power. Confucianism shouldered the important responsibilities assigned by the times without hesitation. Before Han Yu, Li Ao and others appeared in the Mid-Tang Dynasty, Du Fu and Yan Zhenqing took on the responsibility of revitalizing the Confucian civilization at the turn of the Mid-Tang Dynasty.
It can be seen that the emergence of Du Fu and Yan Zhenqing represents the cultural phenomenon of a specific era, and many famous officials in the past dynasties have discussed this. Su Shi said in "Dongpo's Inscriptions and Postscripts": "The poems are due to Du Zimei, the writing is due to Han Tuizhi, the writing is due to Yan Lugong, and the painting is due to Wu Daozi, and the changes in the world from ancient to modern are completed." "I once heard that the blue sea brake Whale, the divine power is vast and the luck is too weak. The ancient and modern Qi are the three tripods, Du Shi, Han Bi and Yan Shu." (Ma Zonghuo's "Shu Lin Zao Jian" quotes Wang Wenzhi) in his book "The Course of Beauty". "Du Shiyan's Korean characters" are regarded as an important aspect of the sound of the prosperous Tang Dynasty. It can be seen that predecessors have compared Du Shi and Yan Zi, but rarely elaborated on it. The author believes that the unique nature of the two is specifically reflected in the following aspects: First, in Confucian China, which is practical in dealing with the world, Confucian views on poetry, The ethics established that Du's poems and Yan Zi's poems jointly constructed the spiritual style at the turn of the prosperous Tang Dynasty. Secondly, going deep into the specific works themselves, regular script and regular script, which both pay attention to rules and regulations, are similar in expression form. Thirdly, from the perspective of style history, Du Fu in the history of poetry and Yan Zhenqing in the history of calligraphy are both highly accomplished.
First of all, Du Fu and Yan Zhenqing are both typical Confucian scholar-bureaucrats. Liu Xizai said in "Art Summary" that "Shaoling only stayed within the Confucian world throughout his life." Yan Zhenqing is also known as "loyal minister, martyr, moral gentleman"3. The Confucian thoughts embodied in the two of them are extremely rich. The author believes that the key points of their thoughts are Du Fu's "heart of benevolence" and Yan Zhenqing's "loyalty and righteousness". But both "benevolence" and "loyalty" ultimately point to the great ambition of caring for the country and the people.
"The Analects of Confucius? Yan Yuan" says: "A benevolent person loves others." The thought of "benevolence" is the essence of Confucius and Mencius, and it is also the bloodline of Confucianism that has lasted for thousands of years. It is not only reflected in the human love that ordinary people have, but also reflected in the spirit of "I treat myself as an old person, and treat other people as old; a young person, and treat me as a young person" ("Mencius: King Hui of Liang, Part 1"), It is necessary to expand outward from oneself into broader social relationships to achieve "oneself and adulthood". Therefore, in the miserable environment of "there is no room for leaks in the bedside room, and the rain is not stopping at the feet", he sang out his wish to "have thousands of mansions in peace and shelter, and all the poor people in the world will be happy". He would even give up himself and "I The hut alone is broken and the feet are frozen to death" ("The Song of Thatched House Broken by the Autumn Wind"); so he will be in "I am more lazy in my decline, and I don't make my own troubles" ("Fa Qinzhou") "I don't have a well in the morning to freeze, The bed is cold at night without any clothes. I am embarrassed if I have an empty bag, but I still have a penny to look forward to" ("Empty Bag") but still longs to "re-establish business and wash away the worries of the people" ("Phoenix Terrace"). When Maslow analyzed the hierarchy of human needs, he pointed out that human physiological needs and safety needs are the lowest level. When these two needs cannot be satisfied, people will inevitably have a kind of "survival anxiety". Du Fu's lament here is not Deliberately artificial, but the expression of true feelings from the heart, it is the embodiment of his higher self-realm in life. "A benevolent man, if he wants to establish himself, he can establish others; if he wants to achieve something, he can achieve others" ("The Analects of Confucius? Yong Ye"), "The way of the Master is only loyalty and forgiveness" ("The Analects of Confucius? Li Ren"). Zhu Zi's "Collected Commentary" said: "To do one's best is loyalty, to respect one's own is forgiveness." Du Fu used his enthusiasm to practice the Confucian way of loyalty and forgiveness.
At the same time, the idea of ??benevolence is interconnected with the entire society, and its main content is social interaction and mutual responsibility, which is to be reflected in the road of "external king" of "keeping the family together, governing the country and the world". Since Chinese scholars have no foundation for material life in society and no free space for activities outside of politics, they must be like "Mao", attached to a certain "skin" and embark on the path of "learning and excellence". The path of becoming an official. Since Li Linfu ruined Du Fu's career as an official by claiming to be "a wild man with no talent left behind", he could only give in to others and give gifts to others. "In the morning, I will seize the rich man's door, but in the evening I will follow the fat man." The broken cup and the cold Sunburn, there is sadness everywhere" ("Twenty-two Rhymes of Presentation to Wei Zuocheng"), and he experienced the hardships of seeking official positions in his life. The setbacks in life and the obstruction of ambitions did not suppress his persistence in "Tao". After learning from the pain, he still "seeks Tao but not food" and "worries about Tao but not poverty" ("The Analects of Confucius? Wei Linggong"), which reflects "A gentleman will never violate benevolence while eating, and he will do what he does wrong, and he will do what he does" ("The Analects of Confucius? Li Ren"). At the same time, Du Fu's persistence in "Tao" is mainly reflected in the thought of "loyalty to the emperor and love for the people" ("Zhuang You"). "When times are dangerous, I think of repaying my lord, and I can't let go of my decline" ("On the River"), "My heart is broken when I am in love, and I cry with my bright head stained with clothes" ("Sanchou"), "I am always begging for food, and I often expose my gills to repay my kindness" ("Shangchun") "Jingnan in Autumn"), it can be seen that his ambition to be loyal to the emperor is just like what people in the Song Dynasty said, "I will never forget the emperor after a meal."
Confucianism based on blood relations has laid the foundation for the deduction of the relationship between father and son to the relationship between monarch and minister. When the authoritative meaning of "father" continues to increase, it will undoubtedly bring about the "turning of father and son into monarch and minister" and "the relationship between monarch, minister, father and son". ization” interaction. When "filial piety" changes from "internal conscious reflection" to "external autocratic regulations" 4, the idea of ??loyalty becomes an absolutely externalized normative and imperative ethics. As the saying goes, "The king serves his ministers with courtesy, and the ministers serve the king with loyalty" ("The Analects of Confucius? Ba Yi"). Yan Zhenqing is a typical loyal person. As the governor of Pingyuan, Yan Zhenqing played an important role in putting down the "An-Shi Rebellion" and played an important role in saving the Tang Dynasty from destruction. When he was prosecuting Li Xilie's rebellion, Yan Zhenqing knew that he was being framed by the treacherous minister Lu Qi, but Yan Zhenqing still had no hesitation, "How can you avoid your life?" 5 This is not a sad foolish loyalty, but in Yan Zhenqing's values, he insists on serving the country. For the precious quality of life and death for the nation. In many negotiations with Li Xilie, Lu Gong remained unswerving in the face of coercion and inducement, remained calm and calm, defended the dignity of a man, and achieved the character of a scholar-bureaucrat who was "mighty and unyielding". "I am nearly eighty this year, and I have reached the rank of grand master. I will abide by my brother's honors and die." 5. Isn't this the state of the scholar-officials who "sacrifice their lives for justice and sacrifice their lives to achieve benevolence"?
However, Lu Gong's concept of "loyalty" also lacks the critical and combative nature of scholars. His attitude towards the current situation His keen grasp and sharp insights ensure the richness of his loyal thoughts. "Seat Struggle" is the manuscript of a letter he wrote to Guo Ying in the second year of Emperor Daizong's reign. In order to please the eunuch Yu Chaoen, Guo Ying arbitrarily elevated Yu Chaoen's seat at two major gatherings. In response, Yan Zhenqing bluntly rebuked Guo Ying as "a man who seizes gold in the clear day" and took this opportunity to angrily The arrogance of the prominent eunuchs reflects the Confucian scholar-bureaucrats' spirit of being straight and unafraid of authority, and demonstrates Lu Gong's strong, upright, simple and honest personality. Sima Guang's evaluation of Yan Lugong in "New Book of Tang Dynasty" is quite appropriate: "He is a loyal minister and a friendly scholar. He would rather trust others because he has not seen them, but he should return to others to get their own righteousness, and then act in the middle." "Oh, even though he is 1,500 years old, his heroic words are like the frost and the scorching sun, which can be feared and admired."
Secondly, after having a basic grasp of the works of Du Fu and Yan Zhenqing, the author focused on Du Fu's regular script and Yan Lugong's regular script. The reason why we need to connect the two is because regular script pays attention to the use of words, sentence construction, and layout of the whole text, while regular script has strict requirements for writing style, structure, and organization. As the saying goes, there is a reason for writing. It seems that some comparability and similarities can be found between the two.
Du's poems pay great attention to training his poetic eye, such as "The famous temple in Tushita is the Dharma hall of Zhenzhihui. There are Bashu in the country, and the buildings are as high as Liang. Although Yu Xin has been declining for a long time, he never forgets what he did well." "The White Ox connects the far and near, and I want to go up to Cihang" ("Going to Tushita Temple"). Fang replied and commented: "The buildings of this temple have been built since Qi and Liang to the present day, so the word 'Zi' used must not be changed, and it is also a work in progress." There is Bashu in the country, and the word "you" must not be changed, so the word "Ba" should not be changed to the flat tone, but the word "Ba" should be changed to the flat tone, such as "Poems should be blessed by gods" and "I will be able to have a spring outing." "Another nameless person. Comment: Use empty characters to make the center point of the sentence. Three and four pitching shapes are superior, up and down, modern and ancient, only one or two are 6. From this we can see the method of refining characters. Whether it is Fang Hui's comment or the anonymous comment, they all approach it from the same perspective of poetic eye. The poet's words are by no means chosen at random. Every word has its origin and has been carefully considered. It can be seen that if you get good words in the poem's eye, you can use twisting and breaking to destroy the flatness and obliqueness, in order to achieve the beauty of the word use in the poem. The basic status of word usage in rhymed poetry is equivalent to the status of brushwork in regular script. As the name suggests, calligraphy refers to the rules that should be followed in writing and handling. Any calligraphy style has strict calligraphy requirements, especially regular script. It cannot use meaning instead of writing like running script and cursive script, but every pen must be implemented. The subtleties of hiding the front and returning the front are exactly where the spirit is reflected. They cannot be careless and must be delivered to all parts of the prescribed lines, otherwise the beauty will be lost.
Yan Kai expresses the contact points with heavy pressing or sharp lifting and pressing contrast in the basic stipple writing. These stipples include horizontal, vertical, offsetting, lifting, folding, hidden front and return front, as well as the hook bottom of the hook and the pressing foot. Zhu Changwen praised Lu Gong's brushwork in "Mo Chi Bian", "The dots are like falling stones, the paintings are like summer clouds, the hooks are like bending gold, and the swords are like crossbows, with images vertically and horizontally, and low and high attitude." It is true that Lu Gong's brushwork has the strength of "pressing like driving a pile, lifting like pulling out a nail", giving people a thick and clumsy feeling.
The method of constructing sentences was Du Fu’s specialty, and he paid great attention to the creation of syntax. For example, Xu Yinfang commented on the poem "The Public Security Sends Wei Er Shaofu Kuang Zan": "The whole article is written in old style. He is old and vigorous, and he is sharp... The first sentence is a social statement (there are many sages in the later generations of Xiaoyao Gong), but it is more secular. The words of praise and flattery are very clear. ...It is also easy to match the verses according to the rules, and it is still difficult to match the knots of the seven rhymes. There is a natural trace in composing knots, which shows his great ability." 7 Another example is the "twisting and twisting method in a sentence." Shen Deqian said in "Shuo Shi? Yu" about Du Fu's "Wu Jia Fare": "'The county officials know me." When he arrived, he ordered the commander to go to war. It was extremely unbearable to say that it was unbearable, but the meaning was shallow. This saying, "when the hometown is gone, the principles of the far and near are also unified." It’s so painful to see.” This is a roundabout way of expressing one’s thoughts. The above two examples are certainly not enough to express how Lao Du pays attention to sentence formation, but "you can see the leopard through the tube." Syntax is very important to rhymed poetry, and it is even more prominent for a master like Du Fu.
Then the method of creating characters in regular script is the frame structure of each character. Regular script is also called Zhengshu. The so-called Zhengshu means Zhonghe. To put it figuratively, it means: "Stop evenly on all four sides, all eight sides are present, the short and long are in harmony, and the thickness is a compromise." (Ouyang Xun's "Ba Jue") The facial structure is basically symmetrical on the left and right, showing a flush frontal image, with flat strokes on both sides, and left and right strokes. The vertical arc is slightly inward, making the entire structure round, deep and full of powerful inner strength. Especially when dealing with the left and right radical characters, we skillfully use the number and width of the radical strokes, and harmoniously handle the interspersed avoidance and echo according to the principle of balance, so that the structure of Yan Kai gives people a sense of stability and balance. At the same time, the distribution of Yan characters adheres to strict norms and fully serves as a French pursuit, reflecting Yan Zhenqing's unprecedented calligraphy conscious expression of his personal feelings about the structure of the fonts.
"The ancients' rhythmic poetry is also an article." From this point of view, the layout of the article is extremely important for the rhythmic poetry. In terms of the scene arrangement of the verses, there are the first four sentences describing the scene and the last four sentences describing the romance; there are also the middle four sentences describing the scene and the beginning and the end describing the romance, etc. There are many changes in Lao Du's poems. Fang Hui commented on the poem "Lv Ye Shu Huai": "Lao Du has nearly twenty poems with five-character rhythms of Xi, Ming, Wan, and Night. Most of the eight poems chosen are clean and exquisite, and most of them describe scenery in two sentences and two sentences in the middle. Romance. If the four sentences are all about scenery, there must be emotions and thoughts running through them, and there will be a lot of sadness and sorrow, but there will be less harmony and ease. As a person, Lao Du is purely loyal and loyal, but when he encounters it, he is full of despair. It's appropriate." 8 Lao Du's poems often blend scenes and scenes, and he is good at planning chapters. It is everyone's handwriting. Another example is "Qing Xing": "The war is still undecided, what will happen to my brothers and sisters? Wipe away the blood from my lapel, comb my hair and face with silk. The earth is low and the wilderness is vast, the sky is far away and the river is late at night. I will never see you again if your illness lasts." Xu Yinfang commented: "The first half is definitely ordinary. The fifth and sixth descriptions of scenery do not contain any words of emotion, but the meaning of loneliness and sorrow is implicit. The conclusion is still painful. There is no second hand for these poems by Lao Duwai." 9
Lu Gong’s regular script is also very particular about its composition. The "Southern School" calligraphy has changed from the ethereal feeling of large letter spacing and line spacing, with white being used as black. Instead, the letter spacing and line spacing are closer, the size of the characters is close to the same, and each character is written in a broad and majestic manner. Spread out, the layout of the entire text appears substantial and dense, resulting in a book momentum that is sparse on the inside and dense on the outside, and the lines are filled with substantial momentum. As the saying goes, "enrichment is called beauty", it has a real sense of existence, and the whole article has a simple and profound epigraphic flavor.
In short, by paying close attention to the rhythm of poetry in Du's poems and the laws of Yan characters, we can see the synchronicity of the development of the "law" of calligraphy and the "law" of poetry. However, regular script and regular poetry belong to different artistic forms after all, and the above discussion only focuses on the comparability of their expressions. From this we can see that both regular script and regular script are restricted by certain rules and have a certain degree of freedom. It is not difficult to see from this that the requirements of "laws" play an important role in both. On this basis, it is possible for the two to have sex.
Finally, let’s talk about the combined style of Du Fu and Yan Zhenqing in the history of style. Wang Yu?, a native of the Song Dynasty, once said, "Zimeiji opened the world of poetry." Indeed, Du Fu's poetry was the first of its kind in the history of acceptance in the past dynasties. His "melancholy and frustrated" style has become the final conclusion of poetry criticism in the past dynasties. The so-called "depression" is mainly reflected in the deep desolation of emotions, and "frustration" is mainly reflected in the inflection and power of language and rhythm. In terms of content, Du's poems opened up the scope of poetry of the previous generation. The landscape poems and the feelings between men and women in the Peaceful Era were rarely mentioned in Du's poems. He devoted more energy to those suffering groups, and their social experiences, folk customs and things. The state of the country and the dangers of mountains and rivers are all related to the pain of the country and the sorrow of the people. For example, "The country is broken by mountains and rivers, and the city is full of spring grass and trees" ("Spring Hope"), "All the countries are in full force, and the beacon fire is breaking through the hills and mountains. The corpses are piled up, the grass and trees are smelly, and the Kawahara Dan is bleeding" ("Farewell to the Elderly"), "I have complained I am so poor that I am so poor that I will shed tears when I am thinking about military service." ("You Cheng Wu Lang"). From these poems, it is not difficult for us to read Lao Du Na’s patriotism and loyalty to the emperor.
In addition, Du Fu's poems often cover extremely rich contents in just a few words. Luo Dajing said in "Helin Jade Dew" that "I have been a guest for a long time in the sad autumn, and I have been sick for hundreds of years." This couplet "contains eight meanings between the fourteen words", which progresses layer by layer, showing the aging of the body in the journey. The poet vividly expresses the nostalgia and sad autumn complex of climbing alone. Du's poems are circuitous and repetitive in the expression of emotions, which is evocative. If Li Bai's poems are like a waterfall "flying down three thousand feet", which is very clear and transparent, then Du Fu's poems are like a mountain stream, which turns back and forth thousands of times. For example, in the poem "Northern Expedition", the first paragraph is written about Cique, "I pay homage to Cique, and I am afraid that I have not come out for a long time" and "I shed tears while walking in love, and the road is still in a trance", which fully demonstrates the complex and ambivalent mood of the poet who can't stop. He could have continued writing Current events, but the poet did not hesitate to write about the situation after returning home, "when the time is moved, the red lead is applied, the wolf is covered with thick eyebrows", "being alive is like a child, as if he wants to forget his hunger and thirst", here is the personal view of the Northern Expedition Province It has been reached, but the poet's pen suddenly turned to the matter of the Supreme Being dusted, and then went straight down, focusing on the poet's views and opinions on the politics and military at that time. Chen Tingzhuo's "Bai Yu Zhai Ci Hua" believes that Du Fu's poems are "hidden and invisible, wanting to be revealed, lingering repeatedly, and finally not being able to say anything in one sentence. It is not only about the high physical quality, but also the thick temperament."
In terms of aesthetic style, Du Shi tends to be broad, profound and profound. Of course, this is closely related to the content of his poetry. Liu Xizai said in "Summary of Art and Poetry": "Du's poems are unattainable in terms of height, greatness and depth. If you can spit it out so much that others cannot spit it out, it is high; if you understand it so much that others cannot understand it, it is great; with twists and turns that people can't understand. The three points of "high, big and deep" point out the outstanding characteristics of Du Fu's poems in the turning point of the Chinese poetry world at the turn of the flourishing and mid-Tang Dynasty. It is these characteristics that made Du Fu successful. The transcendence of the previous generation and the opening of a new era. Hu Yinglin's "Poetry Sou" said: "There are probably three difficulties for Du: it is difficult to sustain the peak of prosperity, it is difficult to pioneer, and it is difficult to recover from decline. From Zijian to Taibai, the poets have done everything they can, and after Du, they gathered their greatest achievements. The style is modern and unprepared by the predecessors, and he has been a master for centuries. The Kaiyuan Dynasty continued, and the Dali Dynasty continued to prosper, and the mainstay was revived in the Tang Dynasty. "So Du Fu's poetry is a reference to the poetry of the previous generation. Totality transcends.
As we all know, Wang Xizhi of Jin Dynasty created a generation of elegant and elegant calligraphy style, which influenced hundreds of years. At the turn of the Sui and Tang Dynasties, due to the influence of the northern stele, the style of calligraphy blended the stele with the meaning of the north and the south. However, in the Tang Dynasty, Emperor Taizong loved calligraphy and especially admired Wang Xizhi. He did not hesitate to spend a lot of money and manpower to collect Xi Zhi's authentic works. Therefore, Li Shimin's aesthetic orientation directly influenced the four great calligraphers of the early Tang Dynasty. Ouyang Xun, Yu Shinan, Chu Suiliang and other calligraphers all had Zongfa II. Wang, based on Youjun's calligraphy, made various modifications to calligraphy. His overall calligraphy style is "the calligraphy is expensive, thin and hard, and the calligraphy is spiritual". However, the progress of art does not mean that future generations will imitate and copy their predecessors step by step. It requires breakthroughs and innovations. Chinese calligraphy has reached a critical juncture when it has to reform. In the midst of admiration for the "king", Yan Zhenqing "incorporated the ancient methods into new ideas, and created new ideas outside the ancient methods" (Su Shi's words are quoted in Volume 8 of Ma Zonghuo's "Shu Lin Zao Jian"), abandoning the methods of Jin people and integrating them. The meaning of seal script is in the brushwork, and it also uses brushwork methods such as hairpin folding, house leakage, ink mud, and sand painting. In terms of the thickness of the strokes, consciously widen the distance between horizontal and vertical strokes, and the distance between strokes and strokes. From the overall aesthetic style, it highlights the combination of bone strength and plump beauty. It pays more attention to the return of "law" and tends to the artificial beauty of the law. Its strict and majestic calligraphy style embodies the Confucian way of constructing a logical, orderly and symbolic aesthetic world, and embodies the rigorous and orderly Confucian aesthetics. formal characteristics. The aesthetic style of Chinese calligraphy has developed from thin and ethereal beauty to majestic and sublime beauty, standing upright in the Chinese calligraphy world with a grand spirit and vigorous momentum. This masculine beauty is expressed in more appropriate language, which is the so-called "Temple beauty" embodies the pragmatism and uprightness of Confucianism. "Ji Shi Lu" commented: "This man's loyalty comes from his nature, so his calligraphy and painting are strong and independent, without following his predecessors, and are majestic and majestic, just like the person he is." This is consistent with Yang Xiong's "calligraphy is the painting of the heart". However, the emergence of the word Yan is not due to Yan Lugong's personal power. It is related to the rich calligraphy style favored by Emperor Xuanzong of the Tang Dynasty at that time. As Mr. Lu Xun said, "Thinking back on how much freedom the Han people had, new animals and plants were introduced without restraint. , to fill the decorative patterns. The Tang people are not weak either. For example, the stone animals in front of Han people's tombs are mostly sheep, tigers, Tianlu, and evil spirits, while the Zhaoling in Chang'an has horses with arrows carved on them." 10 It can be seen that the trend of the times has an influencing effect on art. All in all, Yan Zhenqing laid the standard, established the model, and formed the orthodoxy for the regular script of later generations. As a result, it set off another climax in the Chinese calligraphy world and opened a new page in the aesthetic style of Chinese calligraphy.
To sum up, in the middle of the Tang Dynasty, when the Tang Dynasty was weakening day by day, and the prosperity of the Tang Dynasty could only be a beautiful glimpse in people's memories, two great figures - Du Fu and Yan Zhenqing were in different situations. In the art field, the reality of poetry and calligraphy creation is expressed with the compassion, pragmatism and uprightness of Confucian scholars, and with the rare rationality, objectivity, calmness and depth of poets and calligraphers. They not only retain the grand and magnificent spirit of the prosperous Tang Dynasty, but also show the heaviness and reality of the end of luxury. As a result, the artistic creations of Du Fu and Yan Zhenqing became the "Gemini Constellations" in the cultural history of the prosperous and mid-Tang Dynasties.