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Divine | Self-created "Chu body": leaning on the right vertical and horizontal, intricate changes
Chu Suiliang's book "Dead Tree Endowment".
The Dead Tree Endowment is only inscribed. Titled Zhenguan Four-Year Book. A total of thirty-nine lines, counting 467 words.
Chu Suiliang's book "Dead Tree Endowment", the book is leaning on the vertical and horizontal, intricate changes, "Listening to the Rain Building Post", "YuyanTang Post", "Xihong Tang Post", "Linsu Garden Post" and so on are all included, and the engraving of "Listening to the Rain Building Post" is refined.
Chu Suiliang (596-658) was a native of Qiantang (Hangzhou). During the Zhenguan period, he successively served as a counselor, Zhongshu Ling, etc., and also served as a county commander of Henan, so he was called Chu Henan. Chu Suiliang calligraphers Ouyang Qing and Yu Shinan, traced back to Wang Xizhi. Together with Ouyang Qian, Yu Shinan, and Xue Ji, he was called the "Four Greats of the Early Tang Dynasty". The hereditary Chu Suiliang Kai books include "Sacred Order of Yanta", "Sacred Order of Tongzhou", "Fangliang Gong Monument", "Mengshi Monument", "Yique Buddha Shrine Monument", "Ni Kuanzan" and so on.
Chu Suiliang studied a variety of fonts and used them comprehensively, and history said that his calligraphy began to learn Ouyang Qing and Shi Ling, and then learned his uncle Yu Shinan, and the final method was "Two Kings" (王羲之) and Wang Xianzhi (王羲之) and integrated Han Li ( Han Li ) , creating a self-created unity , known as "Chu Body".
Chu Suiliang's calligraphy works appeared in two different styles, the early "Yi Que Buddha Shrine Stele" and the "MengShi Master Stele" are roughly the same, both use square pens, pens, hooks and other strokes of the brush straight out of the front, the calligraphy and painting is not obvious, maintaining the characteristics of Ou and Yu's calligraphy.
In terms of style, it absorbs the characteristics of The wide and elegant knot body of Yu Shinan Kaishu and the sharp and rigid pen characteristics of Ouyang Qianshu. At the same time, their slender glyphs were compressed. Chu Suiliang's early works not only retain the influence of the North Monument, but also incorporate a large number of Lishu's posture in the pen and knot body, but they are not copied from the hard set, but selectively absorb innovation and turn it into their own use.
"Fang Xuanling Monument" and "Yanta Sacred Order" are his late works, one is neat and strict, one is ethereal and flying, and in the use of the pen, it shifts from a straight binary pen that wins with bones to a one- and two-point pen that wins with tendons, and the strokes are undulating, ups and downs, and the curved brush is used at the same time, showing a strong sense of rhythm.
Chu Suiliang's "Big Character Yin Rune Classic", its overall structure is flattened in the square, mostly seen in the horizontal posture, wide and see the spirit of the spirit, this is from the book.
This post is open and open, the lines are strongly contrasted, sometimes delicate, sometimes thick, sometimes dense, sometimes the gestures flying, twists and turns, and clever changes.
This post concludes with the words 欹正生, allegorical ingenuity, changeable, not falling into the wrong path, the pen is tied to the thread, the speed is extremely fast, the pitch echoes, each has its own basis, the breath is full, and the wonderful pen is full of flowers. With an unfettered pen, the calligrapher makes the turn subtle and the escapement freely, which has the meaning of the "two kings", the meaning of the northern monument and the beauty of the ancient li.
As soon as the new norms of Chu Shu came out, the world competed to learn and imitate, which became a fashion. Until the heyday of the Wu zhou Dynasty, although Chu Suiliang had passed away and the official title was stripped away, his reputation in calligraphy was undiminished, and his straightforward character and charming and flowing books were praised by posterity, and Chu Suiliang's position as the "great master of enlightenment" of Tang was gradually consolidated.
Early Tang Dynasty calligraphers, Ouyang Qing, Chu Suiliang two are the most innovative spirit, Chu Suiliang is the most able to keep pace with the times, Ou, Yu two calligraphy, retain the Sui Dynasty calligraphy style more, Chu Suiliang calligraphy can absorb the strengths of the family, not suppressed by the predecessors, his words give people a balanced amount of flesh and bones, rigid and soft, clear and beautiful, handsome and dashing feeling, power and beauty, bone and rhyme tend to be one, truly open the "Tang Kai" portal, can be called the bridge of the Excessive Sui and Tang Dynasty Calligraphy, and finally promote the formation of the Tang Dynasty Shangfa calligraphy style, It provides a reference for the continuation and innovation of calligraphy in the Tang Dynasty and even later generations.
Chu Suiliang's book "Dead Tree Endowment" is super clear to appreciate
Calligraphy Discover the beauty of the heart
Thinking of thousands of years, seeing through thousands of miles, the heart travels to ten thousand miles, and the eight poles are exquisite