In the thousands of years of calligraphy development history in China, there are 20 calligraphers or calligraphers who have built their own independent styles of works and theories, promoted the development of Chinese calligraphy, and at the same time erected their own monuments to Chinese culture in the long river of Chinese calligraphy. Today, we will take stock of these 20 calligraphy heroes to pay tribute to these 20 calligraphy masters.
1. Chief designer of Chinese character engineering: Qin Dynasty Lisi
Li Si "Yishan Monument"
As a strategic strategist of Qin Shi Huang, Li Si achieved great success in his life. Political ascension gave him the opportunity to create a heroic situation culturally. Qin Shi Huang unified the six kingdoms, "books are the same text", "cars on the same track", Li Si became the chief designer of the national unification project of Chinese characters. Under the auspices of Li Si, the Chinese script acquired a new unified form, the Small Seal.
Since the Shang Dynasty oracle bones, the "homographic" scripts created by various princely states under the guidance of the "Six Books" (six kinds of character creation methods) have since withdrawn from the stage of history, and the phenomenon of "character alienation" since the Spring and Autumn Warring States has been effectively curbed. The "orthography" (stroke composition) of Chinese characters was basically fixed, and the "era of character creation" of Chinese calligraphy ended.
Next, Chinese calligraphy entered the era of "shaping". Li Si because of his merits in the creation and promotion of small seals, history has given him a very high honor, the Tang Dynasty calligraphy theorist Zhang Huaihuan called his calligraphy: "Painting is like iron stone, words are flying, and it is not easy to be the ancestor of Kaili."
2. Let the academic circles go crazy: Zhang Zhi, a great calligrapher of the Eastern Han Dynasty
Zhang Zhi "Champion Post"
The Eastern Han Dynasty was a critical period for the development of Chinese calligraphy from a practical art to a practical and lyrical expression of "amphibious" art. The Revolution in Chinese Calligraphy and Brushwork, which began at the turn of the Qin and Han Dynasties, liberated the brush in the hands of the literati and also liberated the minds of the intellectuals.
Dunhuang Zhang Zhi, "Learn the methods of Cui (瑗) and Du (Fuck), so that they can be changed into modern grasses and turned into exquisite." The posture of the word, formed in one stroke, occasionally does not connect, and the blood vein is continuous, and its connection, the qi pulse is interlaced", and later generations called him "grass saint". Literature records: Zhang Zhi "where the clothes in the home are clothed, they must be written and then practiced (boiled and dyed); Linchi learns books, and the pool water is full of ink." He was a jealous idol in the intellectual circles of the time.
The Eastern Han Dynasty document "Non-Cursive Writing" records the grand situation in which his cursive writing swept the intellectual circles at that time: "Yu Junshi had Liang Kongda and Jiang Mengying, both of whom were yan Zheye of the world, and the cursive writing of Mu Zhang Sheng (Zhang Zhi) was too Xi (rare and cherished) Kong (zi) and Yan (Hui) Yan. Kong Da wrote books to show Meng Ying, all of them recited their texts orally, and their texts were written in their hands, without slacking off. Therefore, the disciples of the later scholars competed with the second sage, kept the order to write a chapter, and wrote a volume, thinking that it was a secret play. ”
These students were obsessed with calligraphy so much that Zhao Yi, a scholar who was very "Taoist", was so angry that he wrote a "non-cursive book" and wrote a big deal: Readers are obsessed with cursive writing and do not do the right thing, and the country will not be a country! ——Calligraphy has appeared on the stage of pure Chinese art with beautiful stories.
3. The Right Army is halal and chic out of the wind and dust: Wang Xizhi, a great calligrapher of the Eastern Jin Dynasty
Wang Xizhi 'Funeral Post》
The Eastern Jin Dynasty calligrapher Wang Xizhi is almost synonymous with Chinese calligraphy. If you want to elect the first person of Chinese calligraphy, whether in academia or in the folk, everyone will unanimously recommend Wang Xizhi. Because of his influence on Chinese calligraphy, no one can match.
Wang Xizhi's significance to Chinese calligraphy is not only to create a new visual style of Chinese character writing, or to technically combine the culmination of the times, creating the elegant style of canon, xingshu and cursive writing in the form of Yanmei, opening up a new style of a generation. More importantly, in terms of personality, values, and behavioral character, he transcended the vulgar current as a super aristocratic disciple admired by thousands of people, and created a transcendent and independent phantom ideal personality between the art form and the spiritual character of the literati, interpreting the ideal of the Chinese literati and celebrities expounded by the master of Confucian thought in his writings.
Therefore, he was revered as a "book saint" by successive Chinese literati. Wang Xizhi's masterpiece "Preface to the Orchid Pavilion" has been called "the first line book under the heavens".
4. Reach its sentimentality and shape its mourning: Sun Guoting, a Tang Dynasty scholar and theorist
Sun Guoting, "Book Notation"
Sun Guoting was a tragic calligrapher, rarely talented, but he had no ambition in his life, became an eighth or ninth petty official, and unfortunately died in middle age, leaving a huge regret for history. His cursive calligraphy passed on the "two kings" penmanship, and he opened up a different path and became a family of his own. What is particularly valuable is that his theoretical attainments are extremely high, reaching the highest level of his contemporaries, and there are few matchmakers in the entire history of Chinese calligraphy.
The famous work "Book Spectrum", which is not only a famous cursive post, but also one of the most outstanding calligraphy theory works in the history of Chinese calligraphy, is sprinkled with more than 3,700 words in its entirety, and the pearls are splashed and shine with wisdom everywhere. His writings are written in the same way, analyze the wonderful truths of the book, and are whipped into reason, and it is often inexhaustible to read.
Wang Wenzhi of the Qing Dynasty, on Sun Guoting, once wrote a poem: "Ink pond pen and pen are all ren, and it is not easy to discuss the book Zen; carefully take Sun Gongshu's genealogy and read it, Fang Zhiqu is a person who came over." This poem can speak to the common sentiment of many writers in future generations.
5. Wen Gong Wu Li, Ying Ming Gai Shi: Imperial Scholar Li Shimin
Li Shimin 《Spa Ming》
The Tang Dynasty was the peak of china's political, economic and cultural development, and it was also an era of famous calligraphy artists. "Tang Shangfa", the "five bodies of calligraphy" widely popular in Chinese history - European body, Chu body, Yan body, Willow body, Zhao body, the first four were all produced in the Tang Dynasty.
The romantic feelings of the Tang people are also vividly expressed in the highest form of cursive writing, "wild grass". The theory of calligraphy in the Tang Dynasty also reached a historical peak. It is reasonable to believe that the Tang Dynasty was the era with the highest historical achievements and the most brilliant development in the history of Chinese calligraphy.
And all these achievements are associated with the name of Li Shimin, one of the founders of the Tang Dynasty, Tang Taizong. Li Shimin was a brilliant politician and a talented man of letters. In addition to his administration, he dotted Han Mo and adopted a series of policies and measures to promote the development of calligraphy, which had an immeasurable impact on the emergence of the peak of calligraphy in the Tang Dynasty.
6. Deeply knowledgeable calligrapher and solipsistic: Zhang Huaihuan, a calligrapher and theorist of the Tang Dynasty
Zhang Huaihuan is also one of the most accomplished calligraphy theorists in the history of Chinese calligraphy. Like Sun Guoting, he was also the culmination of Tang Dynasty calligraphy theory and the founding figure of Chinese calligraphy theory. Zhang Huaihuan discussed and explained the art of calligraphy in the context of a broader artistic theoretical vision. He believes that calligraphy, like literature, is an "immortal event" that can "transform the world". Compared with literature, "the text is the meaning of the word, and the book must have seen its heart" ("On Words"). "The graphic language expression of calligraphy is more direct and simple than literature.
He proposed that first-class calligraphers should "teach nature straightly", "explore the wonders of literature and ink, and the essence of all things" ("On Words"), "encompass all differences and cut into one phase", draw the beauty of various forms of life and movement from the world, and turn them into an infinitely changing pen and ink language, "with the aspiration of the longitudinal and horizontal, or with the nostalgia of scattered knots" ("Book Discussion"). True calligraphy appreciation should be super utilitarian - "those who are deeply literate, only look at the spirit, do not see the glyphs", only communicate on the spiritual level... Wait a minute.
With "natural ontology" as the center, Zhang Huaihuan systematically expounded the origin, life value and social significance of calligraphy art from the perspective of art philosophy. At the same time, from multiple dimensions such as technology, aesthetic standards, and historical evaluation standards, corresponding theories are proposed, and the magnificent theoretical self-contained system is woven, which is extremely speculative. In the entire history of Chinese calligraphy theory, it can be said that it surpasses its predecessors. Therefore, those who study calligraphy cannot say that they have understood what the calligraphy ideals of the Chinese literati are without reading Zhang Huaihuan's calligraphy.
7, moody and embarrassed, a living in the book: Tang Dynasty wild grass everyone Zhang Xu
Zhang Xu, "Four Ancient Poems"
Cursive writing developed into the Tang Dynasty, and there was a leap forward on the basis of the "present grass" of the Eastern Jin Dynasty. The glyphs of cursive writing were further opened, the practical information transmission function of Chinese characters in cursive was further reduced, and the lyricism of calligraphy was further strengthened. A pure art similar to music that expresses emotions through Chinese character writing, "Wild Grass", was born.
The person who promoted the art of cursive calligraphy to the peak was the strange man in the history of Chinese calligraphy, the great calligrapher Zhang Xu. Han Yu, a great scholar of the Tang Dynasty, once described: "In the past, Zhang Xu was good at cursive writing, and did not cure other skills. Moody and poor, sorrowful, joyful, resentful, longing, drunk, bored, uneven, moved in the heart, will be cursive. Looking at things, see mountains and rivers, cliffs and valleys, birds, animals, insects and fish, flowers and trees, sun and moon stars, wind and rain, water and fire, thunder and thunder, song and dance battles, changes in heaven and earth, gratifying and shocking, all in a book. Therefore, the Book of Xu, the change of the ghost god, can not be revealed. In this way, he will be named for future generations. The Tang people like to decorate the wall with books, and it is said that Zhang Xu was often drunk and drunk, and then raised his pen to "call for a wild walk, but the next pen." Even frantically "writing with ink on the head" and "waking up to think that he is a god, he cannot be regained."
Therefore, he got a nickname in history as "Zhang Qian". Zhang Xu's cursive writing is full of vigor and momentum, just like Li Bai's poems, filled with a romantic atmosphere unique to the Tang Dynasty. Here is the condensation of his life's sorrows and joys, but also the resentment and melancholy of his life. The people of the time took the poems of Li Bai, the sword of Pei Min, and the cursive writing of changshi as the "three absolutes" of the Tang Dynasty.
8. Lu Gong's transformation method makes a new meaning: Yan Zhenqing, a great calligrapher of the Tang Dynasty
Yan Zhenqing's "Sacrifice Nephew Manuscript"
Due to the advocacy of Emperor Taizong of Tang, in the early Tang Dynasty, the rate of "Two Kings" Yanmei's calligraphy style was the sect. In the prosperous Tang Dynasty, Yan Zhenqing came out, "Lu Gong changed the law to produce new ideas", and the atmosphere of the book world was one. Yan Zhenqing learned from Zhang Xu in his early years and obtained penmanship. He is good at learning from folk calligraphy, changing the law and becoming a family of his own. His calligraphy, dot paintings are vigorous, and his body is broad, and he is known as "Yan Body".
Here not only embodies the various asanas of calligraphy and brushwork in history (such as the circle of the seal and the party of the affiliation), but also integrates the rational spirit of the scholar's active entry into the world; between the traditional ideal personality and the art form, a harmonious form is found.
His lines are simple and natural, his characters are strange and elegant, and he is also a family in the history of calligraphy. Yan Zhenqing's manuscript "Sacrifice nephew manuscript" written to mourn his nephew Ji Ming, who died in the An Lushan rebellion, is known as the "Second Book of heaven".
9, I can't make a book: Su Shi, a great calligrapher of the Northern Song Dynasty
Su Shi's "Cold Food Post"
Su Shi was a great writer of the Song Dynasty, who was also a literary scholar, literary theorist, and calligrapher and painter. In his early years, he entered the career through the imperial examination, and was loyal to the king and patriotic in his life, but he was repeatedly framed by villains and reprimanded and exiled. The chest is blocky, the hair is Hanmo, overflowing is an article, and it is admired by the literati of all generations.
Su Shi's calligraphy is a family of its own. His calligraphy is out of the face, plump and broad, the bones are rich and even, such as "cotton wrapped in iron", the personality characteristics are obvious, and it is called "Su Character" in history. His writings inherit the Tang Dynasty sages, and the changes are new, the mood is lucky, the gestures are jumping, and the innocence is messy. Together with Huang Tingjian, Mi Fu and Cai Xiang, they are called "The Four Greats of the Song Dynasty".
Su Shi was also very successful in the theory of calligraphy. He argues: "The beginning of the book was not intended to be in Kanejar... Although my book is not very good, it is self-innovative, and it is not a fast one to practice the ancients. It is also said: "Books must have gods, qi, bones, flesh, and blood, and the five are one and not for the sake of writing a book"; Huang Tingjian praised him: "In his later years, he also had the potential of overseas winds and waves, coupled with his knowledge, mind, and insight, and his life has experienced many ups and downs, and his calligraphy style is rich and ups and downs, naïve and vast, and you can imagine him as a person by looking at his calligraphy." The "Huangzhou Cold Food Poems" written when he was degraded by Huangzhou was hailed as "the third line of the world".
10. Manchuan Wind and Rain Alone: Huang Tingjian, a great calligrapher of the Northern Song Dynasty
Huang Tingjian's Theravada Thesis
Huang Tingjian was a famous writer, poet and calligrapher of the Northern Song Dynasty, the leader of the famous "Jiangxi Poetry School" in the literary circles of the Song Dynasty, and one of the "Four Scholars of Sumen". In history, it is on a par with Su Shi and is called "Su Huang". Like Su Shi, Huang Tingjian was one of the most talented calligraphers in Chinese history.
His calligraphy is known in both calligraphy and cursive writing. The book originated from the famous inscription of the Southern Dynasty "Crane Ming", with the strength of the pen and bone, the pen meaning was ups and downs, the waves and three twists, and the body was strong. His cursive writing is out of the machine, opening and closing vertically and horizontally, escapement is measured, dashing and wandering, imposing, opening a new realm of Chinese cursive writing. Huang Tingjian has been groping and creating all his life in creation.
Recalling the enlightenment process of his own calligraphy, he once said: In the early years of studying books, twenty years of shaking and tacky, late Su Cai Weng Zi beautiful book view, is the ancient penmanship, and then Zhang Changshi, monk Huaisu ink, is the magic of peeping penmanship. Also known as: Yuan Youjian Book, the pen is dull, with more than one pen, in his later years he was relegated to the pawn, and the boat saw the oars of the long years, the group Ding dialing, is the penmanship of enlightenment. I can use a pen a little, but I still can't do it. In the second and third years of yuan fu, when he was fifty-five or six years old, he realized that his writing began to fall into a tacky atmosphere. In the history of calligraphy, he became an independent family.
11. Wind and tree array horse, put pen a play: the great calligrapher of the Northern Song Dynasty
Mi Fu 'Poems of The Amaranth Stream'
In the "Four Houses of Song", Mi Fu can be said to be a relatively pure scholar artist. In the fields of academic research, calligraphy and painting creation, calligraphy and painting appraisal, collection and other fields, they have made high achievements. In terms of academics, he has "History of Books", "Famous Sayings of Haiyue", and "Treasure Chapters to Be Visited" waiting to be passed down to the world, which is a must-read for calligraphy studies. In terms of appreciation, there are many famous posts in history, all of which have been identified by him.
His paintings, which in history have the famous "Rice Dots" and "Mijia Landscapes", are a style of Chinese landscape painting. As for his writing and cursive writing, they are all out of the "two kings", and they have changed their posture. He uses the pen very flexible and changeable, calling himself "brushing words", positive side, leaning back, turning, sudden setback, eight sides out of the front, with the pen calm and painful, the momentum is super flowing, the gesture jumps, the dot line is handsome, the spirit is complete, the "second king" line cursive writing out of a new realm, is the history of calligraphy by the pursuit of many, the most fans of the calligraphy calligrapher. Mifu's achievements in calligraphy are due to his long-term faithful study of the classics.
He once said that he was "unable to start a family in his prime, and people call my book a 'collection of ancient characters', covering all the strengths and summing them up." Since the old man has started his own family, people see it, and they don't know what it is. He was quite conceited about his calligraphy. The "History of Song" says: "Mi Yuanzhang first saw Emperor Huizong, and the book of orders "Zhou Guan" was written on the royal screen. After the book was finished, he threw his pen on the ground, and said in a big way: One wash of the evil of the two kings, and shine on the emperor Song Wangu. ”
12. A branch of xiangui xiangsheng jade: Zhao Mengfu, a great calligrapher of the Yuan Dynasty
Zhao Mengfu "Roselle Endowment"
Zhao Mengfu's calligraphy returned to the "Two Kings" under the influence of the "Retro" trend of thought in the Yuan Dynasty, and on the basis of careful study of the orthodox classics of the "Two Kings", it has changed and made great achievements in the fields of calligraphy, cursive writing, and calligraphy.
On the basis of inheriting the "Two Kings", his calligraphy, calligraphy, and cursive writing were popularized by the aristocratic style of the Eastern Jin Dynasty represented by the "Two Kings", so that the inner spirit and external form beauty of the classics found a form suitable for mass dissemination and appreciation.
Therefore, in the history of Chinese calligraphy, he can be said to be the only great calligrapher who can rise in the pure traditional language style and echo the masters of the Kaizong Sect in history.
13. Eight Laws of Scattered Saints, Character Lin Xiake: Xu Wei, a great calligrapher of the Ming Dynasty
Xu Wei calligraphy works
Xu Wei was an all-round artist known for advocating individuality in the middle and late Ming Dynasty, one of the most influential literati artists in Chinese history, and achieved high achievements in the fields of literature, painting and calligraphy.
His poems, texts, and dramas all have a high status in the history of Ming Dynasty literature; his large freehand flowers and birds open freehand flowers and birds. Zheng Banqiao, one of the "Eight Monsters of Yangzhou" in the Qing Dynasty, admired him so much that he once carved a seal of "lackeys under the Qingteng Gate", which shows his admiration.
Modern Chinese painting masters Wu Changshuo and Qi Baishi also have great admiration for him. For example, Qi Baishi once said in the poem manuscript: "The paintings of green vines, snow, and large polyesters can be smeared horizontally and vertically, and The remaining hearts are extremely obedient, hating the three hundred years before they are born, or asking for ink and paper for the kings, the kings do not accept, the remaining hungry outside the door does not go, and it is also fast."
14. Fengcai Xianzi out of the world: Dong Qichang, a great calligrapher of the Ming Dynasty
Dong Qichang calligraphy works
Dong Qichang is also a very influential figure in the history of Chinese art. He held important positions in the imperial court for a long time, and in the political environment of the fierce struggle between the Middle and Late Ming Parties, as an official, he saw the wind and steered the rudder, exquisitely elegant, and appeared to be very sophisticated, not a commendable intellectual elite. But he used political influence effectively to promote his artistic ideas.
In the theory and creation of calligraphy and painting, he advocated the pursuit of the realm of "light", "elegant" and "desolate", to meet the special spiritual needs of the intellectual group at that time, and to make unique achievements. It had a great influence on the art of calligraphy and painting in the late Ming Dynasty and even in China as a whole.
15. Being in the rivers and lakes: Zhang Ruitu, a great calligrapher of the Ming Dynasty
Zhang Ruitu calligraphy works
Speaking of Zhang Ruitu, people who are not familiar with the history of calligraphy may feel that this name is relatively unfamiliar. Because for a long time, he suffered from "cold treatment" in the history of calligraphy. The reason is that in history, he had a less glorious experience, that is, he was involved with the late Ming eunuch Wei Zhongxian. The Chongzhen Emperor liquidated the "castration party", and he was also deposed and demoted by the "King Ding Rebellion Case".
Chinese calligraphy has always attached equal importance to "book" and "morality". With such a personality flaw, people naturally have to "look at him differently". It is true that as an intellectual elite, we cannot give up responsibility and morality at any time. "Unrighteousness and wealth are like floating clouds to me", this is the mind and teaching of the sages, and it is also the spiritual pursuit of the intellectual elite who has been the "backbone" of Chinese history for thousands of years.
However, the fall of life, it is important to learn lessons, and we do not have to insist on this and hide his artistic achievements. In any case, he used his unique pen and ink and mind to chisel a new world of calligraphic form and language.
16. Wind and clouds into the heavens to borrow power: Wang Duo, a great calligrapher in the late Ming and early Qing dynasties
Wang Duo Calligraphy works
The social and political darkness and corruption of the late Ming Dynasty, the people's livelihood is poor, social contradictions are sharp, and internal and external troubles are congested. It was precisely at this time that the heroes of the book world rose up. If they lived in the heyday of the Han and Tang Dynasties, perhaps their lives were calm and quiet, and as an artist in history, they were enough to shine brightly.
However, this is not the case. Li Zicheng and Zhang Xianzhong rose up, and the Qing army suppressed the border. Wu Sangui, Chen Yuanyuan, shaving order, slaughtering city order... The world fell apart in an instant, so that the weak student may have to make a lifelong choice overnight. Some people generously attended the festival and became martyrs of the praises of all generations; some people could not bear to abandon their wealth and glory and wealth, so inevitably a number of gray-headed people appeared in history. Wang Duo, a great calligrapher in the late Ming and early Qing dynasties, unfortunately caught up with this wheel of time. He held important positions in the Ming court and was later demoted to the Qing Dynasty.
In the "Biography of the Qing Dynasty", it is included in the "Biography of the Second Minister" that Jin Sheng is ashamed of. This made him inherit the ancient and new, magnificent, and transcendent calligraphy that was already at the commanding heights of history, and thus suffered from the dust of history.
17. Get rid of the customs and enter the Sacred Realm: Fu Shan, a great calligrapher in the late Ming and early Qing dynasties
Fu Shan calligraphy works
In the Chinese book world of the seventeenth century, Fu Shan was one of the most talked about figures. At that time, it was the turn of the Ming and Qing dynasties, the world was in chaos, and the ups and downs of dynasties and dynasties were brewing thousands of lives, and also highlighted the infinite disguise of Wen Wen's human nature.
At that time, Fu Shansheng had experienced the bitter winds and rains of war and the terrifying waves, and when counted up, he could be regarded as a man who could stand up, could stand, was rich and noble, could not be adulterous, and was mighty and indomitable. Whether it is his splendid embroidery and imposing calligraphy, or his controversial "Four Ning" and "Four No" theories, or the heroic stories of his hunger strike in prison and his refusal to conquer the imperial court in his later years, they are all beautiful talks that make Shi Zhang full of beauty.
18. Luo Yi is not royal, He Hurts the National Color: The Great Calligrapher of the Qing Dynasty Bada Shanren
Bada Shanren calligraphy works
Bada Shanren is a giant of freehand flowers and birds in the history of Chinese art, and his style of ink painting is out of loneliness and arrogance, with a shocking and vulgar beauty of loneliness, which is almost out of thin air in history, and no one has come after the ancients, which is stunned by the painters of the same era.
Also out of his wounded soul that inherently glues the pain of national subjugation, his calligraphy unloads the lead, allows a simple and unpretentious and windy bone contained in the line, stubbornly extends the leisurely circle in the high sky of the black and white intertwined Hanmo life, showing the deep life pain and the helpless loneliness that is unsettling. The dots and lines of calligraphy and the shape of Chinese characters are once again baptized and tempered by art here, and their extraordinary significance has once again been sublimated. On the narrow road leading to the other side of the history of Chinese calligraphy, another historical monument was erected, on which was inscribed: Bada Shanren.
19. Buyi has been proud of the prince since then: Deng Shiru, a great calligrapher of the Qing Dynasty
Deng Shiru calligraphy works
Deng Shiru was a pioneer of qing dynasty epigraphy and the founder of the middle and late Qing dynasty epigraphy movement. He is also one of the few great calligraphers in the history of Chinese calligraphy who stands proudly in the book world with his own art. Deng Shiru is comprehensive in art, and the seals, affiliations, truths, lines, and grasses are all exquisite, especially the lishu, the real book, the xingshu, the seal book, and the seal carving, and on the basis of extensive study of folk calligraphy, it has changed into a new one and formed a distinct personality. Expanded the brushwork of calligraphy.
As a professional calligrapher and seal engraver, his success also broke through the dependence of art on politics in history- the non-academic habit of non-dignitaries and eunuchs whose books are not expensive, and lit a pilot lamp for the benign development of art and scholarship.
20. Self-made ancient and empty heroes: Wu Changshuo, a great calligrapher in modern times
Wu Changshuo calligraphy works
Wu Changshuo is a master of modern Chinese calligraphy and painting, with four masterpieces of poetry, books, paintings and printing. His freehand flowers and birds have a high status in the modern painting world, and are important towns in the Haipai. On the basis of boldly absorbing the materials of qin and Han folk carved stones, his seal carvings were created by heaven and machine, and the printing style was thick and majestic, pushing the secularization trend of seal carving art since the middle of the Qing Dynasty to a new peak.
His calligraphy does not follow the mistakes of the previous people, out of the ancient and opens up the new, let the emotions and intentions, the pen and ink are old, especially with the oblique momentum, the peak is used as a stone drum and a big seal, the momentum is reckless, the new atmosphere of the seal book, and the merit of developing a tenacious source. His writing is written with penmanship, the gestures are flying, the waves are natural, the momentum is fierce, and it is also open to the door in addition to the Second King, Tang and Song Dynasties.
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