A few Pieces of Wei Monument that are not Wei Monuments.
1, Cuan Long Yan Monument
The Cuan Long Yan Stele is a typical calligraphy example of the transition period from subordinate to Kai. The second year of the Southern Liu Song Dynasty was engraved.
The calligraphy of the Cuan Long Yan Stele is majestic and dense, the weather is grand, calm and dignified, and the strength can be carried. It was highly praised by Kang Youwei, a qing stele scholar, who called it "ruo xuanyuan ancient saint, crowned and draped." The Longyan Monument is "the crown of the Southern Monument, the first of the gods." "
The calligraphy of this stele is strong in meaning, full of flavor, and has the length of the two bodies of the inscription. With a pen, it is twisted and turned, strong and powerful. Mainly fang, supplemented by seal penmanship, harmony coexists with fang clumsiness, and Gu Hou is with Yanmei. The structure is left and right, dense, staggered in size, jagged, clumsy in hiding, and interesting. The body is flat and square and mixed with vertical posture, the end is strict and peaceful without losing handsomeness, unpredictable but not grotesque and rough. The whole chapter is arranged in columns and horizontal rows, vertical and horizontal, and there are images in the vertical and horizontal, which are changed in a regular and orderly manner, encompassing all things and becoming a unique style. It has strong historical and artistic research value and is one of the rare treasures in the history of calligraphy in China.
2, Cuan Bao Zi Monument
The Cuan Baozi stele was engraved in the fourth year of the Eastern Jin Dynasty tycoon, because the number of words stele is smaller than the Cuan Long Yan stele, and the history is called "Xiao Cuan". Together with the Cuan Long Yan Monument, it is called "Big and Small Two Stones".
The Cuan Bao Zi Stele is unique in the history of calligraphy, and it is a rare treasure.
This stele is in the period of excessive lishu and retains the strong penmanship of the lishu. With a pen fang jun, the edge is like a cut, like a knife splitting axe stomping, Gui angle Zheng Rong. Strong and strong as iron.
The knot body is strange and chic, like many stone carvings in the north and south dynasties, randomly exaggerated and reduced the glyph strokes, but it can be at ease with the encounter, strange and wild and not deliberately contrived, strange and positive, full of personality, unique and ancient.
The Cuan Baozi Monument has always been controversial, just like the current "Tian Kai", which is polarized.
It is said that the simplicity is thick and ancient, and the strange posture is varied, such as the ancient Buddha sitting upright, which is the crown of the southern monument.
One said that calligraphy is perverse, do not learn calligraphers, do not read the work of craftsmen, such as insects and borer peaches.
Regardless of the reputation, this monument is still a strange book, as a study of history and appreciation is not indispensable, if you blindly seek novelty, deliberately imitate the advent, will enter the magic road. Be careful!
3, Fistula
The Crane Ming is written by Tao Hongjing of southern Liang, a famous stone carving of the Six Dynasties, which is parallel to the "Stone Gate Inscription", collectively known as the Southern and Northern Two Ming, and has the reputation of the king of the stele!
The calligraphy of the Crane Inscription is thick and ancient, and the calligraphy is kneaded into the seal penmanship, which also has the meaning of writing, and the pen is more round and strong, the bone strength is contained, and the square pen is interspersed, super Mai Qiyi, and the gods are out of the ordinary. The magic of the penmanship is really the crown of the scribe.
The knot is wide and sparse, the manners are all square, the gathering is dense, and the peace is strange. It seems bland and careless, but in fact, it is out of the machine and does not fall into the dust.
Song Huangtingjian praised: "Big characters without excessive fistula Crane Inscription" and "Small characters without fault left behind the Teaching Scripture", zun Heming as the "originator of the big character".
Qing He Shaoji Yiyun: "The laws of the book, the ancient seals, the sect and the north and the south, have not been as virtuous as the white fistula crane inscription."
It can be seen that the high art of calligraphy and the great influence of The Crane Inscription are one of the none in the history of calligraphy, so it has been cherished by successive generations of calligraphers and enshrined as Guifu.
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