Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. Those daily necessities, mountains and rivers during the Tang Dynasty truly reflected the way of life and scientific and technological level of people at that time, combined with the record of the background of the era of calligraphy and painting, it was even more interesting to appreciate the characters.
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Datang was in the heyday of feudal society, the country was unified, the society was relatively stable, the economic prosperity and the frequent and active places of foreign economic and cultural exchanges, all of which brought new opportunities to the development of culture and art, so that the art of painting formed a brilliant and brilliant situation, and a number of famous painters with great influence in history emerged.
The painting genre of the Tang Dynasty is still dominated by figure painting, the court office and temple murals account for a considerable proportion, the portraits of meritorious heroes continue to be praised, and the grottoes and temple murals have a greater development than the Southern and Northern Dynasties, and their scale and skill are unprecedented in history. The popular large-scale classic themes in the Buddhist temple murals have reached an unprecedented level, interspersed with a large number of life scenes, the humanized component of the Buddhist image created has been significantly enhanced, and even the phenomenon of using gongwa as a model to shape the image of the bodhisattva has appeared, and the devotees attached to the Buddhist temple murals occupy a larger wall, all of which shows the tendency of Buddhist painting to adapt to the good social good and tend to secularize.
The art of calligraphy in the Tang Dynasty can be divided into three periods: the early Tang Dynasty, the Middle Tang Dynasty and the Late Tang Dynasty. In the early Tang Dynasty, it was mainly based on inheritance, respected the law, and deliberately pursued the beauty of jin dynasty calligraphy. Zhongtang is constantly innovating and extremely prosperous. Late Tang Dynasty calligraphy also made progress.
In the Tang Dynasty, there were six kinds of highest schools, namely Guozijian, Taixue, Sishu, Law, Calligraphy, and Arithmetic. Among them, calligraphy, specializing in the cultivation of calligraphers and calligraphy theorists, was a pioneering work of the Tang Dynasty. Famous people from all over the dynasty have emerged, and they are like stars. For example, Ouyang Qing, Yu Shinan, Chu Suiliang, etc. of the early Tang Dynasty, Yan Zhenqing and Liu Gongquan of the Middle Tang Dynasty, are all calligraphers. In the late Tang Dynasty, there were Wang Wenbing's seal book, Li Yan's calligraphy, and Yang Ning's "Erwang Yanliu" afterglow.
The Tang Dynasty was the heyday of the development of ancient calligraphy art in China, there were many famous calligraphers, they all left extremely precious calligraphy works, calligraphy, cursive writing, calligraphy in the Tang Dynasty also rose to a higher level, with distinct and prominent characteristics of the times, has a very far-reaching impact on the calligraphy of later generations, so there is a "book to the early Tang Dynasty and extremely prosperous" this saying. In addition, the calligraphy education of the Tang Dynasty also made indelible contributions to the extraordinary achievements of Tang Dynasty calligraphy, and had a far-reaching impact on future generations.
Calligraphy refers to the art of expressing emotions using the Four Treasures of the Literary Room as a tool. The particularity of tools is an important aspect of the particularity of calligraphy art. With the help of the four treasures of the study room as a tool, the performance of the tool is fully reflected, which is an important part of the calligraphy technique. Without the four treasures of the study room, the art of calligraphy cannot be discussed.
The background of calligraphy art is traditional Chinese culture. Calligraphy is rooted in the soil of traditional Chinese culture, which is the background for the survival and development of calligraphy. The theory of calligraphy that we can see today since the Han Dynasty has its own systematicness, integrity and orderliness.
Here we share the calligraphy works of calligrapher Liu Gongquan.
Liu Gongquan (778-865), the character is hanging. A native of Jingzhaohuayuan (present-day Yaozhou District, Tongchuan, Shaanxi Province). An official, calligrapher, and poet in the middle of the Tang Dynasty, he was the younger brother of Liu Gongfu of Bingbu Shangshu.
At the age of twenty-nine, Liu Gongquan was the first and the first, and in his early years he served as a secretary to the provincial school secretary and was incorporated into the Li Ting shogunate of Xia Prefecture. Yu Muzong, Jingzong, and Wenzong were officials of the three dynasties, and grew up in the middle of the dynasty. A total of seven dynasties, the official to the prince Shaoshi, the Duke of Hedong County, to the prince Taibao Zhishi, so the world is called "Liu Shaoshi". In the sixth year of Xiantong (865), Liu Gongquan died at the age of eighty-eight. He was awarded the title of Prince Taishi.
Liu Gongquan's calligraphy is famous for its calligraphy, he first learned Wang Xizhi, and later looked at the calligraphy of famous artists in the Tang Dynasty, absorbed the strengths of Yan Zhenqing and Ouyang Inquiry, dissolved the new meaning, and created a unique "willow body", with bone strength and strength, and later generations have the reputation of "Yan Jian Liu Bone". With Yan Zhenqing's same name, he is known as "Yan Liu", and together with Ouyang Zhenqing, Yan Zhenqing, and Zhao Mengfu, he is also called "the four masters of Kaishu".
His major works include: "Xuan secret pagoda stele", "Shen Ce Military Stele", "Nine Doubtful Mountain Endowment", "Mengzhao Ti", "Diamond Sutra Carved Stone", "Feng Su Stele", "Fu Zhen Ti", "Sixteen Day Ti", "Shinto Stele", "Pai Luo Shen Fu Thirteen Lines", "Wang Xianzhi Send pear Thepta", etc.
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Xuan secret pagoda stele" was appreciated
Liu Gongquan "Xuan secret pagoda stele" Liu Gongquan Kaishu appreciation of the "Xuan secret pagoda stele" full title "Tang Gu Zuo Street monk record enshrined three religions talk about leading the Da De An Guo Temple on the throne to give the Purple DaDa Master Xuan Secret Pagoda inscription and preface", Tang Pei Xiu wrote, Liu Gongquan book and seal. Written by Liu Gongquan when he was sixty-three years old, it belongs to the mature works of his later years. The "Xuanmi Pagoda Stele" was erected in December of the first year of Tang Huichang (841 AD), and the stele is in the Forest of Steles in Xi'an, Shaanxi. Italics are 28 lines and 54 characters. Liu Xizai's "Outline of Art" says: "Liu Shu's "Xuan Secret Pagoda" is from Yan Zhenqing's "Guo Family Temple", and Wang Shizhenyun: "Liu Fa is charming and vigorous, comparable to Yan Situ". The Secret Pagoda was written by Liu Gongquan when he was sixty-four years old. Wang Shu's "Void Boat Inscription" said that this book is "a work of sincerity and extremely modest practice." The characteristics of the knots in the "Secret Tower" are mainly introverted and outward, this kind of knot is easy to be tight and strong; the pen is strong and stretched, clean and neat, thoughtful on all sides, and has its own unique face.
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Divine Strategy Military Monument" was analyzed
Liu Gongquan 'Divine Strategy Military Monument' Song Tuotai. The "Divine Strategy Military Monument" is one of the representative works of Liu Gongquan's book. The full title is "Emperor Patrol Left Divine Strategy Military Discipline Sacred Virtue Monument and Preface", Liu Gongquan Book. Tang Huichang was erected in the third year (843 AD), and the original stele was long-standing. This stele is more mature and distinctive than the calligraphy style of the well-known "Secret Pagoda". The structure of the knot body is smooth and uniform, retaining the traditional structure of left tight right. The pen is used in all directions and with ease. The strokes are thick, calm and steady, and majestic. It typically shows the artistic characteristics of liu ti kai shu in thickness and openness.
Just like Cen Zongdan's "Book Review" Yun, Liu Shu is "like a soldier in the yuanmen, and a forest guard". Reading this stele can deepen people's understanding of the artistic characteristics of the phrase "Yan Jian Liu Bone". The original stone of the "Divine Strategy Military Monument" stands in the forbidden area of the feudal dynasty, and it is difficult for ordinary people to enter it to copy it, so the Tuoben has been passed down very rarely. The above is the Collection of Tang Tuoben in the Beijing Library. The takumoto has been framed into two volumes, and only the upper volume is 27 open. The next volume has long been lost. The first volume only ends with the word "cheng" of "coming to the upper capital JiaQicheng", which is the first half of the inscription, and the following is missing. Later, there were Tibetan seals such as the Southern Song Dynasty Jia Xiangdao, the Yuan Hanlin Guoshi Academy, and the Ming and Jin Dynasty King Zhu Gang. In the Qing Dynasty, it was handed over by Sun Chengze, An Qi and others. This stele was once exiled to Hong Kong in the middle of this century, but was purchased with a large amount of money in 1965 under the personal instructions of Premier Zhou Enlai, and is now collected by the Beijing Library and has become a prominent treasure in the world. There are photocopies of Tan Jing, reprints of the True Appreciation Society of the Art Garden, and photocopy of the Keluo edition of the Cultural Relics Publishing House.
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Nine Doubtful Mountain Endowments" was appreciated
Liu Gongquan's book "Nine Doubtful Mountain Endowments" is engraved by Shao Jianhe, and the knife technique is natural and very subtle. Many of the stele written by Liu Gongquan were engraved by Shao Jianhe. The most valuable thing about the Nine Doubts mountain fu is that Liu Gongquan wrote in the heyday of his works, and his masterpiece "Xuan secret pagoda stele" was written in the first year of Huichang (841), the "Divine Strategy Military Monument" was written in the third year of Huichang (843), and the "Nine Doubtful Mountain Fu" was written in the fourth year of Huichang. At present, most of the book circles believe that the "Divine Strategy Military Monument" is Liu's highest level work, but judging from the works of "Nine Doubts mountain endowment", although it is only one year later than the "Divine Strategy Military Monument", it is more rigorous and refined in both structure and point painting.
One of Liu Gongquan's "Nine Doubtful Mountain Endowments"
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 2
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 3
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 4
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 5
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 6
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 7
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 8
Liu Gongquan's book "Nine Doubtful Mountain Endowments" no. 9
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 10
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 11
Liu Gongquan's book "Nine Doubtful Mountain Endowments" No. 12
"Nine Doubtful Mountain Endowment" is 601 words throughout, the words are meticulous with the pen, fat and thin, the flesh and blood are beautiful, it can be said that it is not good. In the lower right corner of the first page of the Tuoben there is a Zhu seal, "Seal of the Secret Of the Heavy Light", and the last page has five Zhu seals, namely "Han Cui Xuan Lord", "Heirloom Qing Play", "Shanyin Shen Clan", "Liu Yong", "Seal of Shi'an", and has Zhu Pen Circle Point.
Calligrapher Mr. Zhao Sijing looked at the back of the inscription: "Nine Doubts Mountain Endowment, Treasure of the Book World." The engraving is subtle, the handwriting is clear... However, the Nine Doubtful Mountain Endowments, unheard of before, Liu Shi Xiaokai, is now only seen. Looking at its glyphs, dignified and elegant, the Diamond Sutra is not enough; analyzing its knot, rigorous and solemn, there is still a gap between the divine strategy army. The envoy has a degree, the dot painting is skimmed, very refined; the conversion is appropriate, the hook is picked horizontally and vertically, meticulously; it can be described as exquisite and elegant, clear and free. Charming and energetic, into the magic of the spirit. Liu's books should be the best, ancient and modern small characters, when pushed first. Praise: "Dignified and elegant like a branch flower, just healthy and graceful Na especially can be praised." Clear and free room shelf is wonderful, the first in ancient and modern small characters. ”
Appreciation of the famous calligraphy artist Liu Gongquan's cursive "Mengzhao Ti" during the Tang Dynasty
Liu Gongquan practiced cursive calligraphy to appreciate the ink copy of the Mengzhao Ti, Liu Cheng's book was written in 821, when he was forty-four years old, in the collection of the Palace Museum.
This post is also called "Hanlin Thesis", with a strong pen and a magnificent momentum. The first line of "Gongquan Meng" three words stretch out, the words are huge, the pen force is longitudinal, such as seeing Liu Gongquan's flesh and blood, full of vigor. The next three lines of pens take the dragon snake, twisting and turning; the size of the lines is staggered, the sharp edge is broken and the paper is killed, and the gossamer is rigid and soft, and the momentum is unhindered. In the last three lines, although the words tend to be small from large to small, they change their laminations and transform into a thin and energetic face, but the qi pulse runs through, and the heroic qi flows to the final chapter.
The authenticity of the Edict is debated. After the examination of the close friend Xie Zhiliu, he believes that the spirit is majestic and imposing, not only for the structure of the Liu Book, but also for the exemplary style of the Tang Dynasty Law Book ("Jian Yu Miscellaneous Manuscripts").
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Diamond Sutra Carved Stone" was analyzed
One of Liu Gongquan's "Diamond Sutra Carved Stones" of the Tang Dynasty only uploaded five paintings due to space limitations, a total of 32 paintings
Tang Dynasty Liu Gongquan "Diamond Sutra Carved Stone" No. 2
Tang Dynasty Liu Gongquan "Diamond Sutra Carved Stone" No. 3
Tang Dynasty Liu Gongquan "Diamond Sutra Carved Stone" No. 4
Tang Dynasty Liu Gongquan "Diamond Sutra Carved Stone" No. 5
Tang Dynasty Liu Gongquan's Diamond Sutra Carved Stone, written by Liu Gongquan when he was forty-seven years old (824). Carved as horizontal stones, a total of twelve pieces, eleven characters per line, the original stone was destroyed in the Song. The only Tang Tuoben was found in the Dunhuang Grottoes and is now in the Paris Museum.
The Diamond Sutra Carved Stone is an early masterpiece of Liu Shu. The lower pen is meticulous, the pen is thin and vigorous and feminine; the knot is meticulous, taking shape with longitudinal length, tightening the middle palace, unfolding in all directions, clear and strong. "Willow Bone" can be first known here, and the Willow Collection Book can also be known here. Song Dong Kuiyun: "Sincerely hanging the Diamond Sutra, Liu Wei is said to have the bodies of Zhong (繇), Wang (羲之), Ou (Yang Xu), Yu (Shi Nan), Chu (Sui Liang), and Lu (Cambodia). Now examine his book, sincerely for the masterpiece, especially valuable also. (Hirokawa Shuba)
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Feng Su Monument" was appreciated
Liu Gongquan's "Feng Su Stele", also known as the "Shang Shu Feng Su Stele", "Zizhou Thorn History Feng Su Stele", "Gift Department Shangshu Feng Su Shinto Stele", "Jiannan Dongchuan Jiedu Envoy Feng Su Stele", the full name is "Tang Dynasty Former Yin Qing Guanglu Doctor Inspection School Ceremony Department Shangshu Envoy Holding Festival ZiZhou Military and Zizhou Thorn History YuShi Dafu Chong Jian Nan Dongchuan Jiedu Deputy Ambassador Zhi Jie Du Guan Guan Zhi Du Guan Zhi
The Feng Su Stele was created by Liu Gongquan at the age of 60 (the second year of Emperor Wenzong of Tang, 837 AD), and can be regarded as a work on the eve of his cicada degeneration.
This stele is written by Wang Qi, Liu Gongquan Book and Seal Forehead, Main Book, Forty-one Lines, Line 83 Characters, Stone Stored in Xi'an Forest of Steles. His books are crisp and cheerful, and his spirit is soaring. It seems to indicate that a more refined "willow body" is about to be conceived. In the following five or six years, the "Secret Pagoda" and "Divine Strategy Army" came out one after another and became the canon of the Millennium Book.
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Fu Zhen Ti" was appreciated
Liu Gongquan 'Fu Zhen Ti' is one of the books
Liu Gongquan's "Fu Zhen Ti" Book No. 2
Liu Gongquan 'Fu Zhen Ti' Book. Interpretation: Fu Trial's sister was scheduled to be sent in August, and the brother and the twenty-eighth brother followed the same line, and they were overwhelmed by the distant heard. Today, the seventh yuan comes, and I hope that my brother will be extremely fast. May it be good to hear on the road, not to stagnate, and even more fortunately. Not immediately open-minded, still increased sorrow, not one by one. The public power is presented to the twenty-third brother, the twenty-sixth brother, the twenty-eighth brother, and the thirty-eighth brother, and the thirty-first brother has no special intentions, and the former asks For Xiao Kai, and the latter envoy is sent to. empty.
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Sixteen Days" was appreciated
Liu Gongquan practiced cursive calligraphy to appreciate one of the "Sixteen Days" of the Post
Liu Gongquan practiced cursive calligraphy to appreciate the second part of the Sixteen Days' Post
Liu Gongquan practiced cursive calligraphy to appreciate the third part of the Sixteen Days Of Thesis
Liu Gongquan practiced cursive calligraphy to appreciate the "Sixteen Days" with a tight body and obvious strokes, such as cutting nails and cutting iron, focusing on bone strength, and the style of writing is charming and vigorous, which can be compared with Yan Zhenqing's majestic and graceful style of writing, and is praised by posterity as Yan Jian Liu Bone.
Appreciation of the Famous Calligraphy Artist Liu Gongquan's "Shinto Tablets" during the Tang Dynasty
One of Liu Gongquan's Shinto Tablets
Liu Gongquan 'Shinto Monument' No. 2
Liu Gongquan 'Shinto Tablet' No. 3
Liu Gongquan 'Shinto Tablets' No. 4
Liu Gongquan 'Shinto Tablets' No. 5
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Thirteen Elements of the Divine Endowment of The Lotus" was appreciated
Liu Gongquan calligraphy Takumoto appreciates one of the "Thirteen Elements of the Divine Endowment of The Palla"
Liu Gongquan calligraphy Takumoto appreciates the second part of the Thirteen Elements of the Divine Endowment of The Lotus
Liu Gongquan calligraphy Tuoben appreciates the "Thirteen Elements of the Divine Endowment of The Three Elements", and the Palace Museum collects old Tuoben.
During the Tang Dynasty, the famous calligraphy artist Liu Gongquan's "Sending Pears" was appreciated
Liu Gongquan's "Sending Pear Posts" by Wang Gongquan is a 43-character poem written in small letters when Liu Gongquan was fifty-one years old after Wang Xianzhi's "Sending Pear Posts". This trek does not have the restraint of the chinese characters in the inscription, but naturally reflects the belt; there is no angry bones, but the pen is subtle; there is no demand for fairness and uniformity, but it has its own true interest. This world is known as a "divine product".
Liu Gongquan's calligraphy is vigorous, and his writing is rigorous and meticulous. In terms of the characteristics of the characters, Wang Xizhi, a beginner, and Yan Zhenqing, a later teacher, are known for their thinness, and the calligraphy they write is physically strong and strong, and the calligraphy and calligraphy are the most exquisite. Also because of the unique characteristics of his works, therefore, Liu Gongquan's calligraphy is called "willow body", Tang Muzong tried to ask Liu Gongquan the method of using the pen, Gongquan replied: "With the pen in the heart, the heart is correct." Muzong was moved. The Song Dynasty Zhu Changwen's "Ink Pond Compilation" said: "The public power of the book and the line of kai, are the best of the best, grass can not be mastered." Its method is out of the face, and it is vigorous and rich, and it is self-famous. The Old Book of Tang says: "The first time the public power learned the Wang Shu, read modern calligraphy, had a strong posture, and became a family of its own." At that time, the minister of state and minister's family stele version, not allowed to hand-write public power, people thought it was not filial piety. Foreign yi into tribute, do not sign the currency, known as this purchase of willow.
Liu Gongquan's success in calligraphy was by no means achieved overnight, and his journey can be roughly outlined in four phases.
Therefore, we must have our own style in inheriting the tradition of the ancients, and the more prominent this style is, the greater the impact on future generations, and the European body of Yao Mengqi in the Qing Dynasty is exquisite, but in the end it does not have its own characteristics and does not come out of the post. And this kind of person who did not come out of the post accounted for the vast majority in ancient times, so it can be seen that innovation in calligraphy is a very difficult thing.
Of course, we don't need to be sad because there is no post, the pro is good enough, enough like can become a generation of everyone, this is already very good, in the Yuan and Ming Dynasties, many famous calligraphy in the annals of history, although the style is similar, almost Zhao Mengfu, Dong Qichang's style, similar to the Wei and Jin style, such as Ke Jiusi, Kang Li Wei, Tang Yin, Peng Nian and so on, they can also become the leaders of the times, the same will be remembered by future generations.
Therefore, learning calligraphy must inherit the classics of the ancients, and try to innovate on the basis of copying the ancients, as to whether it can be innovative and whether the style is different enough, this is not very important! You should learn calligraphy according to your personal preferences, and you must not blindly seek fame and fortune, otherwise you will deviate from the essence of calligraphy learning and fall into the magic path.