The Tumu Ti is a calligraphy post of Li Jianzhongxing in the Northern Song Dynasty, with dark tooth ink scrolls on paper. There are ten lines in total, with a calm pen, with strict methods such as Ouyang Inquiry and a slightly fat pen, and the distribution still exists in the Tang Dynasty relics, which is a representative work of Li Shu. According to the examination, this book was originally a series of six posters, followed by inscriptions of the Song, Yuan, Ming, and Qing dynasties, of which three have been posted, and the "Same Year Post" and "Huang Zhai Ti" have survived. Only four of them remain in the Houbu, which was once collected by Xiang Yuanbian and still has the number of the word. There are photocopies of this book.
Li Jianzhong (945~1013), also known as Yanfu Minbo. Han Chinese, jingzhao (present-day Xi'an, Shaanxi). Northern Song Dynasty calligrapher.
Li Jianzhong's book was inquired by Ouyang, and he was strong and thick. The pen is particularly workable, multi-structured new body; the grass is also wonderful, and most people think that it is a model. He is good at grass, li, seal, 籀, eight points and other calligraphy styles, multi-structure new style, shifa Yan Zhenqing and Wei Jin calligraphy. His writing is plump and thick, the knot is dignified and stable, the style is rich and beautiful, and the qi is lofty.
"Tumu Thesis", book, on paper, 31.3×44.7cm
10 lines, 104 words, collection of the National Palace Museum in Taipei
Interpretation
Shown to the mother of the earth, now get a small cage, seal the whole consultation, I don't know if it is available? It is the person who is out of the new an lack of doors, and it is not known what to use, and I hope to give instructions. Spring and winter clothes are calendar, Xian Lang has not been inspected, and the foundation of his homestead, the Yin family, is not clear at all, and it is difficult to discuss the ear. See don't visit the stable people, what if there is a preconceived house? Detailed and consulted. Sun no. westbound less cars, now there are old cars, if you do not use them, but the goods are also.
This post was originally one of the "Six Poster Scrolls" in Jianzhong, and there is a number of "fear" between the words "zi" and "feng" in the lower corner of the first line, which was originally hidden by Xiang Yuanbian (zi jing, number Merlin) in the Ming Dynasty. According to the Records of the Great View, the six posts are "Tumu Thesis", "Same Year Thesis", "Guizhai Thesis", "Tuntian Thesis", "Left and Right Thesis" and "Jaigu Thesis".
Jianzhong has experienced five generations and several periods in his life, and is a figure in the history of calligraphy. The style of Tang poetry has changed repeatedly, and although the late season has not been caught, the three hundred years of the book calendar still have the wind and bone charm since zhenguan and yonghui. Although Jianzhong was in the early Song Dynasty, its calligraphy was not far from the Tang Dynasty, and it still had the residual wind of the Tang Dynasty, reaching the peak of the transition period from the Five Dynasties to the Song Dynasty. The early Song dynasty book circle has shown a tendency to return to the Jin people, which began with the five generations of calligraphers Yang Ningshi and Li Jianzhong, who had an influence on the calligraphy of the early Song Dynasty. The calligraphy of both Yang and Li has shown signs of tracking the Jin people and integrating the Jin and Tang calligraphy styles into one. Subsequently, through Cai Xiang, he took the Jin Dynasty and the Book of Tang Dynasty as a furnace, and the law was free without one law, reaching the realm of "driving the law with intention". From the Book of Song to Su Shi and Huang Tingjian, a major change occurred, inheriting the Tang Dynasty and the Jin Dynasty, and five generations later, and only then did the Song Generation Shangyi calligraphy style truly mature.
Jianzhong Ouyang Inquiry Book is not cold and thin, "Tumu Ti" line book, less numbers with cursive method, with pen in the center, the line pen is calm and steady, the law is rigorous, and it has won the charm of European books. The knot body is dignified, and the glyphs are mainly longitudinal, longitudinal and horizontal, and skillful. The line spacing is wide, the word spacing is pulled apart, the line is fresh and rich, the style is elegant, and the temperament is graceful. The words are virtual and real between the lines, and the size, length, and density of the glyphs are appropriate. The thickness of the lines is handed over, and the dry pen is used naturally. The "ear" character is slender, the hanging needle thirst pen, the oblique slightly left, the unique charm, in the whole text a little eye-catching. The style of writing is similar to that of the Tang and The Five Dynasties, and it is beautiful and rounded by the Jin Dynasty, and the posture is full of characters, which is even the intention of the Second King. However, it is still a little restrained, and the right sees that the Jianzhong initial combination of the Jin and Tang calligraphy styles is not yet mature, but it also has its own merit in opening the calligraphy of the Song Dynasty, and there are very few ink marks in Jianzhong, which is a good pen for his writing, which is quite cherished by later generations.
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