The tenth line of the Tianxia book "Tumu Ti" is a calligraphy post of Li Jianzhongxing in the Northern Song Dynasty, with dark tooth ink scrolls on paper, with a total of ten lines.
Li Jianzhong's "Tumu Ti"
"Shown to be a mother of earth. Now got a small cage. Seal the full consultation. I don't know if it's available. It is the new Anmen who came out. I don't know what to use. Hope for instructions. Spring and winter clothes calendar. Kenro didn't pick it up. Its homestead foundation yin family. It's not clear at all. It's hard to talk about. See don't visit the seeker. What if there is a preconceived house. Detailed and shown. (Pledge). consult. Sun traveled west to less cars. There are old cars today. If you don't use it. 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".
"Tumu Ti" line book, less numbers with grass method, with a 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 it is also seen that the Jianzhong initial combination of the Jin and Tang calligraphy style 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 future generations.
Part of Li Jianzhong's "Tumu Ti"
Li Jianzhong (945~1013), also known as Yanfu and Minbo. He was a native of Jingzhao (present-day Shaanxi) and then a Sichuan resident. Li Jianzhong Taiping Xingguo Jinshi, official to the Ministry of Works Langzhong. In his later years, when he lived in Xijing (present-day Luoyang, Henan), he was deeply attracted by the local customs and customs, and not only built a landscape garden pond here, but also asked Xijing to stay in the imperial history, so he was called Li Xitai. Good books, especially gongxing books, multi-structure new style, grass, li, fence, seal, eight points are also wonderful, there is Tang Xuhao style, when people imitate more. Try to handwrite Guo Zhongshu's "Han Jian" to dedicate, all tadpole words, and the edict praises. It was active in the early years of the Northern Song Dynasty, similar to the Five Dynasties Yang Ning-style era, and was famous for its book. Li Jianzhong's calligraphy is said to have started with Wang Zi first, then learned ou and yan of the Tang Dynasty, learned Ou and could get rid of its cold and thin qi, and learned Yan without being stupid, which is indeed his unique feature. His calligraphy was evenly balanced and beautiful, which had a deep influence on the calligraphers of the Song Dynasty. In addition to Huang Tingjian Zengyun "fat no leftover meat, such as beautiful women plump muscles, and the spirit is beautiful." In addition to the world's beauties praising his words, the "History of Song" biography also praised him for "writing with special work, multi-structuring new bodies, grass, li, seal, fence, eight points are also wonderful."
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.
Li Jianzhong "The Same Year Post"
Li Jianzhong's works handed down are only two works, "The Same Year Thesis" and "Tumu Ti", which are uniform in style, both are written in line, taking the straightness of the European character and the thickness of the Yan character, and the structure is rigorous, just like the beautiful woman with a clear spirit.