From sharp edge to return to basics, admire the evolution of Hiroichi's calligraphy between 1896 and 1942

In the modern Chinese art world, Master Hongyi (Li Shutong) should be regarded as the most comprehensive talent. He is well versed in poetry, music, painting, calligraphy, seal engraving and drama, of which calligraphy is the most remarkable. Born into a wealthy family of eunuchs and salt merchants, Li Shutong learned calligraphy from Tang Jingyan in his early years, and when he was a teenager, he already wrote a remarkable seal book; after he became a monk, he still studied calligraphy. Today, I would like to enjoy the evolution of Master Hongyi's calligraphy throughout his life.

Picture from top to bottom:

To Xu Yao Tingzha (1896)

Sanitary Golden Mirror Four Screens (c. 1897)

Lishu Four Screens (Linyang Dan, 1899)

Return to Infant (around 1900)

Epitaph of Mrs. Jiang Muqiang (1918)

One Law and Ten Thousand Edges and Five Words (1919)

The Buddha and the Lotus Pond Master (1922)

The Buddha and the Lord of Compassion (1927)

Buddha Number (1930)

One Instant Text With Seven Words (1931)

The Vast Pure Seven Words (1932)

Rulai Puxian Eight Words (1933)

Buddha Number (1934)

Poem "Wing Chun Fung Temple" (1935)

Name of Grand Master of huayan sect (1936)

Elysium Amitabha Buddha (1937)

Recitation of the Buddha's Six Sayings to Save the Nation (1938)

One Heart Equality Five Words (1939)

The Four Sayings of Minnan Buddhism (1940)

Lingfeng (蕅益) Master Police Training (1941)

Chang Won Heng Tu Five Words (1942)

Wills (1942)

The Intersection of Sorrow and Joy - The End of The Pen (1942)