There are many calligraphers in the calligraphy world, in the early years, biased towards "tradition", and the skills are more solid, and when it comes to the middle, often like to write some "ugly books", many people do not understand, think that calligraphy is going backwards.
In fact, the "beauty" and "ugliness" of calligraphy are not judged by the simple "good-looking" and "unsightly" in the secular sense. Instead, it needs a unique calligraphy language to read and understand, and it needs to have the unique aesthetic ability of calligraphy to see the classics behind some "ugly books"!
Yan Zhenqing's book "Send Liu TaichongShu" is a long volume
In today's Zhejiang Provincial Museum, there is such a work, which was written by Yan Zhenqing, and later fell into the folk and almost scattered, until the Southern Song Dynasty great collector Liu Yuangang spent a huge amount of money to collect Yan Zhenqing's Fa Ti and compiled the famous "ZhongyiTang Fa Ti".
In this "Zhongyitang" Legal Post, there is a famous "ugly book", this work is a very successful work of Yan Zhenqing's calligraphy exploration, known as the "best ugly book", this work integrates calligraphy, calligraphy and cursive writing, but natural and harmonious, and constructs a unique aesthetic realm.
This work is Yan Zhenqing's 63-year-old work "Send Liu Taichong".
Many people say that Yan Zhenqing surpassed Wang Xizhi in calligraphy with this work, in fact, the transcendence here refers to Yan Zhenqing's extremely successful exploration in the calligraphy paths of different "two kings" systems.
Mi Fu commented on this "Send Liu Tai Chong Shu", which can be described as the most important, he said:
Radiant hair, vivid dragons and snakes, it is amazing to see.
"Radiant" refers to Yan Zhenqing's bold innovation, using the seal brushwork into the letters, rows, and grass, so that the lines are full and round, just like the dragon and snake flying, which makes people look extremely excited!
This calligraphy technique is the method of "folding the strands", "house leak marks" and "cone painting sand" that Huai Su talked about when communicating with Yan Zhenqing, in short, the use of the reverse front seal brushwork.
This method can make up for the lack of "two kings" brushwork, and reach the realm of "the greatest is no outside, the smallest is no inside", that is, the words written can withstand the infinite method or shrink without losing momentum.
The content of "Send Liu Taichong" is to his life friend Liu Taichong's brothers mingling unevenly, regretting that their talents are knowledgeable and not reused, it is a simple letter, and then it is such a letter in hand, achieving the success of Yan Zhenqing's exploration in different "Two Kings" calligraphy systems!
Since the beginning of the Tang Dynasty, led by the "Three Great Masters of the Early Tang Dynasty", the people of the world have studied books in accordance with the "Two Kings" paradigm, and when he came to Yan Zhenqing, he injected the qi of han and Wei into the "two kings" system with his extraordinary artistic talent and bold artistic boldness, and this exploration was extremely successful, so there was this sentence of the historian Mr. Fan Wenlan:
"Ou, Yu, Chu, and Xue of the early Tang Dynasty were only the heirs of the Erwang Script. Yan Zhenqing of the Sheng Tang Dynasty was the creator of the Tang Dynasty calligraphy."
If a person is selected from among the calligraphers of the Tang Dynasty to represent the Tang Dynasty, then this person must be Yan Zhenqing.
The great calligrapher Dong Qichang praised liu tai chong shu like this:
"Yan Lugong sent Liu Taichongxu, Yu Qu was strange, and there was no interest in the Second King's law. Mi Yuanzhang is as vivid as a dragon and snake, and those who see it are shocked and not vain. ”
Dong Qichang and Mi Fu were shocked to see this text, and the author was also shocked after careful speculation and copying.
Yan Zhenqing's "Liu Tai chong Shu" in the Song, Yuan, Ming, and Qing dynasties have great influence, Mi Fu, Dong Qichang, Wang Duo, and even the Qing Dynasty's Kang Youwei, Yi Bingshou and others have learned a lot from this post, and contemporary calligraphers have participated in the national exhibition, and many of them have also participated in this post in terms of techniques.
In the Fa-thesis handed down from Yan Zhenqing's life, the application of "seal qi" is not the "Seat Fighting Post", nor the "Sacrifice Nephew Manuscript", but the "Send Liu Taichong Narrative".
The "Preface to Sending Liu Taichong" ends with "Lu County Gong Yan Zhen Qing Shu", and the correct signature should be "Lu County Founding Duke". Judging by the intuitive experience of calligraphy, it is also far from the artistic level of the authentic "Liu Zhong Zhi Ti", so it should be an ancient manuscript. It can be said that Yan Zhenqing's handwriting, in addition to the engraved copies of the stele and the post, the ink book works that have been passed down are only two or three authentic works.
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