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Wonderful product | Privately stored old posters: his words are both plump and elegant
Pan Linggao's book "Ten Songs of Nanshan" was printed by Shanghai Ma Qixin Bookstore.
Pan Linggao (1867-1954), Zi Xijiu, Gecheng resident, Hebei An xinren. Calligraphy is known for its calligraphy, and on the basis of the Yan (Zhenqing) character style, it has taken the richness of Su (Dongpo) books, the Shumei of Zhao (Meng Fu) books, the elegance of Dong (Qichang) books, and the thickness of Liu (Yong) books, forming its own style.
A closer look at the Panshu style can be roughly divided into three periods:
One is Gengji (1910) 43 years old (1919) before he became the governor of Gansu Province at the age of 52. His works clearly bear the style of Yan (Zhenqing), Su (Shi) and Liu (Yong), with rich pen and ink and dense chapters.
The second is that from the age of 55 (1922) to the age of 62 . At this stage, his calligraphy style has matured, with the weight of the pen and the lightness of the light, the left and right of the knot are loose, and the chapter method is loose and clear.
Third, since he settled in Beiping in 1938 until his death, there are many inscriptions and hand-copied scripture scrolls, and the style is pure and leisurely, and the realm is pure fire.
The overall characteristics are: the strokes are full, the knots are on the side, and the chapters are clear. Its brushwork mostly uses reverse pen into the paper, the ink line pen, the stroke appears to be soft on the outside and the inner bone, the dot painting is decisive and crisp, clean and sharp; the skimming painting is straight and thick; the stroke is three folds and contains the bones; the hook painting is multi-folded; the vertical stroke line brush is strong and dignified, and the force is ten thousand and one, and when the pen is full of strength, it stops abruptly, and there is a sense of endless pen stop.
Pan Linggao's calligraphic knot is different from that of his predecessors, characterized by light weight on the top and down, light on the left and light on the right; tight up and down, loose on the left and right; uneven on the upper and lower sides, and not straight on the vertical side. The side of the side is full of fun and vivid.
Pan Linggao calligraphy as a whole feels loose, symmetrical and stable; fat and thin contrast, size and size; thickness and thinness are staggered, light and heavy are seen, ups and downs, rhythm is vigorous; fat is not bloated, thin is not thin, wide is not loose, fine is not delicate. In short, Pan Linggao's calligraphy is beautiful and divine, soft on the outside and rigid on the inside, delicate but not vulgar, subtle but not sharp. In the quiet, peaceful, peaceful contains a burst of vitality.
Mr. Pan Linggao learned five cars and was knowledgeable. Not only a patriot, but also a cultural giant. From the end of the Qing Dynasty and the Republic of China to the early days of the founding of New China, Ling Gao was famous for his calligraphy. His calligraphy art is a family of its own, named in the pingjin and jizhong areas, and is on a par with Tan Yanmin, sometimes with the theory of "Southern Tan and Northern Pan". Ling Gao wrote plaques for many merchant shops in Pingjin; the Summer Palace in Beijing and the Tuancheng In Beihai Also have inscriptions and links. In Baoding, there are also many of his calligraphy and inscriptions. During the Republic of China period, Beijing and Tianjin published fourteen kinds of his posters, of which "Hu Dachuan Fantasy Poem", "Nanhao Poetry", "Another Village Poetry", and "Pan Linggao Taishi Mobao" are the most famous. In 1985, tianjin ancient books bookstore published "Four Kinds of Pan Linggao Xingshu" according to the 1934 Tianjin "Wenchengtang" published for him, which promoted Pan style calligraphy.
Pan Linggao's book "Ten Songs of Nanshan" is super clear and appreciated
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Thinking of thousands of years, seeing through thousands of miles, the heart travels to ten thousand miles, and the eight poles are exquisite