The younger generation of calligraphers, not satisfied with the Jin and Tang dynasties, but the pursuit of new changes, not only the form and style are changing, the spiritual meaning is changing, even the tools and brushes used have also changed, and various hard pen writing styles have emerged. However, the ever-changing is inseparable from its origin, and as the basic skill of calligraphy, I am afraid that it cannot be changed.
So, where does the pro-post entry start? The inscriptions and ink left over from the past are bathed in smoke, and there are many masterpieces that can be used as models, and the scholars of the past generations have started from different experiences, or advocated starting from the true deeds of the Jin, or honoring the monuments, or revering the thesis, each with its own basis. However, if you consider the length of the stele and the wonders of the Jin and Tang Dynasties, I think that Zhang Heinu Jizhi is indeed a better model.
This stele is the Yanzhi of the Black Woman of The Northern Tibetan Nanyang Taishou Zhang Xuanzi, and was inscribed in the first year of the Northern Wei Dynasty (531 AD). The Southern and Northern Dynasties of the Wei and Jin Dynasties were an important historical time when Chinese calligraphy transitioned from subordination to Calligraphy, and established the status of calligraphy in Calligraphy, the Northern Stele Nan Ti flourished for a while, because the Song Dynasty carved the paste into the wind, tossing and turning the carving so that there are many distortions, it is difficult for scholars to understand the subtlety of the knot and the use of pens, so since the middle of the Qing Dynasty, with the large number of excavations of stele, calligraphers and calligraphy theorists began to advocate the stele.
Zhang Heinu's epitaph copied
Generally speaking, the inscription is extended from the original stone, the structure is accurate and the pen edge is obvious, and the stele is more powerful and sharper than the Tang Bullet that emphasizes strict law, and zhang heinu Muzhi is subtle and round compared to most square strokes of the Wei stele, which completely preserves the characteristics of writing with a brush, with tendons, bones, and flesh, and both spleen and post, and has long been considered to be an outstanding calligraphy in this period.
This post has beautiful handwriting, contains curiosity, the structure is flat and fluent, the pen is natural, the square and the circle are applied, the fat is suitable and varied, the bones and bones are exposed, the momentum is flying, read more of this post and never tire, giving people a lingering, intriguing and evocative beauty enjoyment.
The Qing Dynasty calligraphers Bao Shichen and He Shaoji both gave high praise. Bao said: "This stele has the freedom to come out of the law, so it is more perverted." He commented: "The seal is divided into slots, Sui'er has no god, no good, no magic, no good, but the road is thick in the past, and there is no one who can match the "Black Girl"." "According to the intention of this sticker to copy, calmly and patiently find the context, over time will be able to achieve the effect of form and god, do not taste shallow, see different thoughts, do not be a slave to the book, the expo group post to a higher level, in order to achieve the realm of no falsehood." The original stone of this stele has been excavated, and the original stone Tuo song arc copy is now in the Shanghai Museum, and there are many photocopies.