The Sui and Tang dynasties were the most prosperous periods in the history of Chinese calligraphy.
Sui Dynasty calligraphy The Sui Dynasty was established for a relatively short time, and although the calligraphy was perfected in the integration of the north and the south, it failed to achieve full development, and only played a leading role in tang dynasty calligraphy. The Sui calligrapher Zhiyong spent 30 years writing 800 copies of the "True Grass Thousand Character Text" and distributing them to monasteries in eastern Zhejiang. His calligraphy has changed according to the method of Wang Xi, and it is peaceful and beautiful, and the body is both wonderful. There are stone carvings of the "True Grass Thousand Character Text" that have been handed down, and the inkblot of the "True Grass Thousand Character Text" that has been circulated in Japan has also been passed down to Tomoyaga. Another calligrapher is Ding Daohu, and the calligraphy works passed down from generation to generation include the "Qifa Temple Stele", which is now the original stele, and only one copy has been circulated.
Sui Dynasty inscriptions and epitaph calligraphy are more common. The Sui Monument is inside the Chengzhou and Qi Jun's rectification, and the outer collection of Liang and Chen Mianli's wind, so it is concise and proficient, converging into a round, simple and simple, and the essence is not revealed. Famous inscriptions of the Sui Dynasty include: "Longzang Temple Stele", "Cao Zhi Stele", "He Ruoyi Stele", "Meng Xianda Stele", and "Dong Meiren Epitaph", "Su Xiaoci Epitaph", "Yuan Cemetery Epitaph" and "Yuan Gong Wife Ji Family Epitaph". These inscriptions and epitaphs, knots or obliquely painted vertical knots, or flat paintings of wide knots; wind gods or thick and round, or beautiful and slender; can conform to changes and become their own appearance.
Tang Dynasty Calligraphy Tang Dynasty calligraphy can be divided into three periods: the early Tang Dynasty, the Sheng Tang Dynasty, and the Late Tang Dynasty.
In the early Tang Dynasty and early Tang Dynasty, the society was stable, the economy became more and more prosperous, and the calligraphy also flourished, and the imperial court designated calligraphy as one of the six schools of the Guozijian, and set up a doctor of calligraphy to win the title of calligraphy. Emperor Taizong of Tang, Li Shimin, loved calligraphy, advocated calligraphy, and vigorously promoted Wang Xizhi's calligraphy. This promoted the development and prosperity of calligraphy in the Tang Dynasty.
The representatives of the calligraphers of the early Tang Dynasty were Ouyang Qian, Yu Shinan and Chu Suiliang. Ouyang Qian's calligraphy is rigorous, profound and elegant, and wins with danger. Representative inscriptions include "Jiucheng Palace Liquan Inscription", "Huadu Temple Stele", "Emperor Fujun Stele", "Fang Yanqian Stele", etc., and the inkblots include "Dream Dian Ti", "Bu Shang Ti", "Zhang Han Ti" and so on.
Yu Shinan, who was employed by Zhiyong of the Sui Dynasty, is considered to be the orthodox lineage of Wang Xizhi. His calligraphy is pure and serene, not revealing sharpness, solid penmanship, soft on the outside and rigid on the inside. The representative work is "Confucius Temple Monument". Chu Suiliang was a rising star in the tang dynasty three families, and the character Qingjin Xiuying contained bones and bones, and there were new creations in penmanship.
His works include "Monument to the Shrine of Yique Buddha", "Monument to Master Meng", "Monument to the Sacred Sect of Yanta", "Monument to Fang Xuanling" and so on. There is also Xue Ji, the teacher Chu Suiliang, who was known as the Four Families of the Early Tang Dynasty with Ou, Yu and Chu, and his works include "Monument to the Zen Master of Xinxing" and so on. Xue Yao, whose style is similar to Xue Ji's, his works include "Sealing the Altar Monument", "Autumn Feast Stone Shu Sequence", "Summer Day Tour Stone Poetry and Preface" and so on. Tang Taizong Li Shimin was quite accomplished in calligraphy creation and calligraphy theory, and his calligraphy study Wang Xizhi was the first to enter the stele with cursive writing, including "Jinci Inscription" and "Hot Spring Inscription". In theory, he advocated that the study of calligraphy should learn its backbone, and personally praised the "Biography of Wang Xi of the Jin Dynasty", saying that his books were perfect and perfect, the first in ancient and modern times, and also bought his calligraphy inkblots with heavy money. Therefore, the upward and downward effects, the study of the Book of Kings has become a fashion. Emperor Gaozong of Tang was also good at calligraphy, and his works include "Ode to Ji Gong" and "Ten Thousand Years Palace Inscription".
Later important calligraphers were Sun Guoting and Li Yong. Sun Guoting is good at cursive writing, mastering Wang Xizhi and Wang Xianzhi, and works with a pen. His calligraphy is junba Gangjian, which is considered to be a typical transmission of erwang cursive calligraphy, and the ink has been passed down from generation to generation. Li Yong was a talented and prolific calligrapher who was mostly known for his calligraphy. The calligraphy is thin and thick, and the works include "Lushan Temple Stele", "Yunli General Li Xiu Monument", "Yunli General Li Sixun Monument" and so on.
The calligraphers of this period also included Ouyang Tong, the son of Ouyang Yuan, who was flexible in calligraphy, with a flowing attitude and a little less subtlety, and his works include "Daoyin Monument" and "Epitaph of the Boy of Quan". He Zhizhang is good at cursive writing, there is a metaphor for the dragon and snake with a falling pen, and the works passed down from generation to generation include the cursive "Filial Piety Classic". Lu Kam Zhi is the nephew of Yu Shinan, a calligrapher Yu Shinan, and his works have been passed down from generation to generation, including the inkblot Wen Fu. Another example is Zhao Mo's "Records of Gao Shilian Zhaozhao", Wang Xingman's "Han Zhongliang Monument", Jingke's "Wang Jushi Brick Tower Inscription", Wang Zhijing's "Wei Jingwu Gong Li Jing Monument" and a large number of other calligraphers and their works have also made considerable achievements.
With the development of social economy and culture during the Sheng Tang Dynasty, the art of calligraphy also underwent great changes and improvements. The calligraphy style changed from the early Tang Dynasty Fang Zhenjian to the majestic and fat. At this time, famous calligraphers such as Zhang Xu, Huai Su, Yan Zhenqing and Liu Gongquan appeared, who created a new situation in the field of wild grass and calligraphy, respectively.
Zhang Xu, known as Zhang Qian, created wild grass, and is known as the grass saint. During the reign of Emperor Xuanzong of Tang, Li Bai's poems, Pei's sword dances, and Zhang Xu's cursive numbers were the three masterpieces. Its cursive is ever-changing and does not deviate from the rules. He was also able to write extremely rigorous letters, and his "Preface to the Stone Pillars of Langguan" is considered to be unparalleled in the Tang Dynasty. Huai Su and Zhang Xu are collectively known as "Upside Down Crazy Su".
Huai Su obtained Zhang Xu's brushwork from Yan Zhenqing and Wu Tong. Its words are like a snake walking away, Zhang Yu fierce wind. There are inkblots such as "Self-Narration", "Bitter Bamboo Shoots", and "Eating Fish". Yan Zhenqing is a calligrapher who has the courage to innovate. His calligraphy mostly uses the center forward, the knot body is rich, solemn and magnificent, called the Yan body.
He has left the most inscriptions and is highly varied. For example, the "Duo Pagoda Stele" has a uniform and stable conclusion, beautiful and colorful; the "Song Guangping Stele" is rich and round, wide and loose; the "Yan Qinli Stele" is full of wind and god, and the pen is strange and great; the "Zhongxing Ode" is magnificent and thick, and the meaning is flying; the "Yan Family Temple Stele" is solemn and vigorous, and the big book is profound; and the "Magu Immortal Altar" is quite superb and comfortable. His drafts of the Book of Shooting with Guo Servants and the Mingwen of the Sacrifice of the Nephew Ji were suddenly frustrated and majestic, becoming models in calligraphy.
Xu Haogong Kaili, whose works include "Zhu Juchuan's Confession", "Monument to the Monk who Is Not Empty", "Monument to the Zen Master of the Great Witness" and so on. Liu Gongquan was an important calligrapher after Yan Zhenqing. It is known as yan tendon willow bone. Its characters are strong and rounded, and the italics are exquisite. The inscriptions include the "Secret Pagoda Stele" and the "Monument of Divine Strategy and Military Discipline and Sacred Merit" and so on. Famous calligraphers of this period also included Chung Shaojing, whose works include "Lingfei Jing"; Su Lingzhi, whose works include "Tian Ren Qi De Zheng Monument" and "Yizhou Iron Statue Ode".
The Tang Dynasty seals and Lishu were also quite prosperous. The highest achievement of the seal book was li yangbing. Yan Zhenqing's stele, mostly by his seal forehead, is called the beauty of the world. He first learned "Yishan Monument", and then changed the opening and closing, vigorous and luxurious, and became a family of his own. His works include "Three Tombs", "Ban Ruotai Inscription", "Qian Gua Stele" and so on. Others who were good at seal writing included Wang Wei, Li Lingsheng, Qu Huiwen, Yuan Zi, and Tang Xuandu. There are more book masters. Tang Xuanzong was known for his good subordination, and his books such as the Shitai Filial Piety Classic and the JiTaiShan Ming were very influential. At that time, Han Zemu, Shi Weize, Cai Youlin, and Li Chao were called the four families of Lishu. Han Zemu has the "Ye Hui Ming Monument", Shi Wei has the "Great Wisdom Zen Master Monument", and Cai Youlin has the "Pang Luwen Monument". Other good subordinates include Lu Zangyong, Gu Zhihao, Dou Quan, and Han Xiurong's brothers.
During the late Tang Dynasty, the Tang dynasty gradually declined, and calligraphy did not flourish in the early Tang And Sheng Tang, but there were also some calligraphers, such as Wang Wenbing's seal book and Li Hu's Lishu, which were praised by later generations.
In addition to the inkblots and inscriptions of famous calligraphers mentioned above, the calligraphy works of the Tang Dynasty also have a large number of epitaphs written by many unknown writers and Buddhist scriptures written by Jingsheng, which are important calligraphy materials. The theory of Calligraphy in the Tang Dynasty was more precise and perfect on the basis of the Three Kingdoms, the Two Jin Dynasties, and the Southern and Northern Dynasties. Sun Guoting's "Preface to The Book Genealogy" is not only an excellent cursive masterpiece, but also a calligraphy theory work with dense thoughts and concise words. The preface comprehensively discusses the meaning of calligraphy from six aspects, such as tracing the source stream, distinguishing the calligraphy style, commenting on monuments, describing the penmanship, admonishing scholars, and hurting the sound, which is regarded as a criterion by posterity and has a great influence.
Zhang Yanyuan's "Essential Records of the Law Books" is the first collection of ancient calligraphy theories, which is widely collected and selected for fine review, which has had a profound impact on the theory of calligraphy in later generations.
Du Bing Jian (都兵剑), the lord of the Lying Cow Zhai, the head of the Jianlan living room, is a famous contemporary calligrapher, and his calligraphy works are called "Bing Sword Calligraphy". A fellow of the Republic of China, he was born at the top of Taihang In Lingchuan, Shanxi. After 20 years of military service, he founded the Beijing Hongdu Academy of Calligraphy and Painting to study, explore and inherit and carry forward traditional Chinese culture. He has published calligraphy collections such as "Hanmo Sword Love", "Bing Sword Calligraphy Collection", novella "Traces of Time", essay collection "Song on mobile phone" and other literary and artistic works.
Bing sword calligraphy, such as flowing clouds and flowing water, falling pen like cloud smoke; bing sword calligraphy, such as dragon and snake racing to walk, grinding through the iron brick; bing sword calligraphy, the gesture is majestic, the posture is full of life, out of indifference, its palms are forgotten; the sword calligraphy, such as the hero drawing the sword, the divine color is moving like the pen of Man Qing, the yan muscles and willow bone gods are all in good shape; the sword calligraphy, its color, its shape, its thickness and light, its broken tossing, the thickness and thinness of the dew, are infinitely variable and the weather is thousands; the sword calligraphy, the ancient ink is lightly polished with a few incense, the new bath of the Yanchi is bright, or the key or the gentle turn, or the beauty of the graceful Na Jiao, Or like a strong and brave warrior, or like a spring breeze blowing flowers, or like the north wind into the pass deep and cold; sword calligraphy, like petals, the aroma spreads far, more and more pure, intoxicating the world.
Mr. Feng Zhiliang, a distinguished professor of Peking University and a scholar of surname culture, once gave a poem by the famous calligrapher Woniu Zhai Master Du Bingjian Teacher Seven Words and Laws: "Linchi has not quit for fifty years, and the ink of the milli-cone is like a disc star; the ashram Yazhai reflects the bright moon, and the Taoist law does not depend on the breeze." There were already three thousand guests under the door, and there were 100,000 soldiers in their chests; they did not ask about the troubles of the world, but only listened to the songs of the world. This poem objectively proves the noble character of the Woniu Zhai Master Du Bing Jian Teacher as his person and the teacher of the teacher, and also embodies the superb skills and perseverance of the Wo Niu Zhai Master Du Bing Jian Teacher in calligraphy and literature, and also reflects the noble quality of the Wo Niu Zhai Master Du Bing Sword Teacher Tao Li who is full of the world and is not disturbed by the world.