The author is practicing calligraphy
The author copied Chu Suiliang's "Yin Rune Sutra"
Italics, also known as italics, orthography, true calligraphy, and true calligraphy. Gradually evolved from the Lishu, it became more simplified, horizontal and vertical. The book "Ci Hai" explains that it is "square in shape, straight in strokes, and can be used as a model". This kind of Chinese character font is correct, which is the modern common Chinese character handwriting orthography.
The origin of the script
Italics originated from Lishu, gradually evolved from Lishu and Licao, and began in Wei and Flourishing in Jin.
Representative works of this period:
Tablets of Cuan Baozi, 405 AD. The font is simple and thick, and the strokes are soft on the outside and rigid on the inside. In calligraphy, it is like a han li, which seems to be subordinate to non-subordinate, and the near letter is not in italics.
Tablet of the Dragon Yan, 458 AD. The font is majestic and simple, and the rules are ethereal and ups and downs, although it is very strong for the letter.
Zhong Xuan Xiaokai. Representative works include "Declaration Table", "Recommended Season Direct Table" and so on. The style is characterized by simplicity and elegance, sparse and natural. Zhong Xuan promoted the establishment of the official status of the script.
Representative works of this period also include "Taishan Diamond Sutra", "Zheng Wengong Monument", "Zhang Xuan's Tomb State" and so on.
The development of the script
01
Wei and Jin Southern and Northern Dynasties
During the Wei and Jin dynasties, the script was formally established, and the Southern and Northern Dynasties were the period of great development of the calligraphy. Book history generally believes that the book of this period was divided into north and south.
The calligraphy style of the Southern Dynasty is dominated by elegance and vivid charm. Representative figures include the father and son of the second king. Representative works include:
"Filial Piety Cao'e Monument", the Eastern Han Dynasty Cao'e Monument was destroyed, and it is now rumored to be the book of Wang Xi. The atmosphere of the monument is natural and simple, the knot is flexible, there is still a sense of affiliation, and the charm is endless.
"Huang Ting Jing", Wang Xizhi's masterpiece of Xiao Kai, has a gentle penmanship, is healthy and free, and the body is beautiful and smooth, which can be described as "full of qi and handsome".
The Jade Edition of the Thirteen Elements, also known as the Thirteen Elements of Roselle Endowment, the Book of Wang Xian, is written in a simple and quiet manner, beautiful and generous, gracefully stretched, and gu pan and colorful. Later generations praised this post as "the characters and paintings are elegant, the ink is flying", "the elegance is elegant, and the beauty is delicious".
The calligraphy style of the Northern Dynasty is mainly strong and simple, and the momentum is strong. During this period, the style of writing was called Wei Stele, which was scattered in Moya stone carvings, inscriptions, epitaphs, and statues. Representative works include:
The Yuan family epitaph, the collective name of the Northern Wei royal epitaph, was named after the Northern Wei Xiaowen Emperor who changed "Tuoba Shi" to "Yuan Shi". Its stone selection is exquisite, the writing is respectful, and the engraving is exquisite, and many of them have become the finest in the Wei monument. The calligraphy style is mainly manifested as smooth and harmonious, elegant and elegant, with a royal style.
"Shiping Gong Statue", the style characteristics are majestic and thick but not thick, heavy and ethereal, in the middle of the majestic and severe end of the strict out of the spirit of the beautiful, detached from the traces of the book and created their own unity.
02
Sui Dynasty
The Sui Dynasty was unified with the country, and calligraphy also appeared a trend of comprehensive north and south, which was the integration period of calligraphy, which can be described as a direct Wei and Jin Dynasty, and the book passed through the north and south. Representative works of this period are:
ZhiYong Zhenshu 1,000 words. Zhiyong, the seventh grandson of Wang Xizhi. The thousand-character text written by the book directly inherits Wang Xi's law degree of rigor, which can be described as the pen strength is exquisite, the next pen has a source, so that there is a law of transformation, deification is free, and the perversion is infinite.
"Longzang Temple Stele", engraved in 586 AD. With the pen calm, the pen is subtle, the knot body is neat and broad, flat and elegant, with a solemn and quiet charm, known as "Sui Monument First".
In addition, there are "Dong Meiren Epitaph", "Su Xiaoci Epitaph" and so on. "Dong Meiren Epitaph" uses both square and round pens, dignified and rigorous knots, refreshing style, strong and elegant penmanship, this zhi can be called a perfect example of Sui Dynasty calligraphy.
03
tang dynasty
The Tang Dynasty calligraphy is still exquisite. By the Tang Dynasty, the standardized techniques had been completed and the law was strict. Therefore, the predecessor called it "Tang Shu Shangfa".
Early Tang Dynasty:
Ouyang inquired. Founded a model letter, the body square pen round, the world known as "European body". Ou Shu's pen is dangerously thin and can be plump, the knot is rigorous, and the forest is awe-inspiring. Representative works include "JiuchengGong Liquan Ming" and so on.
Yu Shinan. The body of Yu Shu is long, round and warm, and the muscles and bones are contained, and the strength is strong. Representative works include "Confucius Temple Stele" and so on.
Chu Suiliang. Chu Shu is written in line with kai, the glyph is square flat, thin and vigorous, graceful and graceful, and full of abundance. Chu Shu makes the script move, making it vivid and colorful, seemingly soft, but in fact contains great tension. Representative works include "Yanta Sacred Order", "Big Character Yin Rune Sutra" and so on.
Zhong Shaojing. The representative work "Lingfei Jing" has a beautiful and flexible font and a dashing atmosphere. The strokes are exquisite, the manners are stretched, and the beauty is flying. Although it is a calligraphy, it has the flow and flow of the book, which is a masterpiece that has been handed down to the world.
Zhang Xu. Zhang Xu is known for his cursive writing, and his calligraphy is also excellent. The Preface to the Stone Pillars of Langguan in Shangshu Province is an important work in calligraphy that has been handed down to him. This inscription takes the "Ou Yu" brushwork, the posture is dignified, the dot painting is exquisite, and the law is rigorous.
In addition to the many famous masters in the early Tang Dynasty, there were also many masters in the folk. The "Honorable Guest King's Brick Tower Inscription" is an example. His calligraphy is thin, flowing and elegant, very impressive, and the elegance of the style has amazed future generations.
Middle and late Tang Dynasty:
Yan Zhenqing. Outstanding representative of Sheng Tang calligraphy. Yan Kai changed the ancient law and created a new style of Xiongjian in addition to Wang Xizhi's Yanmei calligraphy style. The penmanship is thick and full, taking the pen meaning of the seal, hiding the head and protecting the tail, the pen strength is strong, the knot is magnificent and broad, the atmosphere is magnificent, and the chapter method is rich and dense, which looks vibrant. The representative works of Kaishu include "Multi-Pagoda Induction Monument", "Yan Qinli Monument", "Yan Family Temple Monument" and so on.
Liu Gongquan. Outstanding representative of late Tang Dynasty calligraphy. Liu Gongquan integrates the yan body and forms his own style. The style of writing is outstanding and independent, and the wind and bones are extremely strong. The shape of the willow kai is tall and strong, the pen is sharp and strong, the dot painting is suddenly and regular, and the law is rigorous, which is known as the "willow body". Liu Kai's representative works include "Xuan Secret Pagoda Stele" and "Divine Strategy Military Stele" and so on.
04
Song dynasty
The achievements of the Song Dynasty were not as good as those of the Tang Dynasty. It is worth mentioning that the "thin gold body" founded by Emperor Zhao Ofe of the Song Dynasty is clear and flowing with a pen, and has the exquisite gold branches and jade leaves. The biggest feature is that there is a sense of thinness and fluidity in the lean, and there is a sense of elegance in the strong.
In addition, Qin Juniper founded the "Song Style", which has now become a printed body.
05
Yuan Dynasty
The Yuan Dynasty Kaishu is represented by Zhao Mengfu, who is also known as the "Four Great Masters of Kaishu" along with Ou, Yan, and Liu. Zhao Mengfu writes with calligraphy, pure law, mature brushwork, graceful beauty, and radiance. Representative works of the calligraphy include "Tablet of the Bold" and "The Book of the Three Doors". Zhao Mengfu Xiaokai is particularly exquisite, and his works such as the Tao Te Ching have been handed down through the generations.
06
Ming dynasty
The Ming Dynasty Kaishu was characterized by the prosperity of Xiao Kai. Representative figures include Wen Zhengming and so on. Wen Zhengming Xiaokai took the Fa Zhong and Wang, and Wen Chun was exquisite. The next stroke is meticulous, and the technique is pure fire. The style of writing strives to be ancient and clumsy, changing the gentle style of Yuan Kai.
Wang's favorite, who was slightly later than Wen Zhengming, Fu Shan at the end of the Ming Dynasty, also achieved high achievements in the script.
In addition, the "Taige body" formed in the early Ming Dynasty has a square knot, unified size, and elegant craftsmanship. However, it lacked personality, was prone to tackiness, and was abandoned in the middle and late Ming Dynasty.
07
Qing Dynasty
In the Qing Dynasty, the "Pavilion Style" was emphasized in the early Qing Dynasty, and the Qianjia Period was transformed from theology of theology to the study of steles. After entering the middle and late Qing Dynasty, try to combine inscriptions and posts, and the accomplished He Shaoji, Zhao Ziqian, Qian Feng and others.
Chu Suiliang's "Yin Rune Sutra" strokes are explained in detail
The Yin Rune Sutra is rich in pens, with squares and circles, and there are dew in hiding. More use of the flank to take the momentum, a wave of three folds, dot painting and fine and heavy extreme changes, the intention is recognizable, the side pitch but does not lose the center of gravity, the middle palace is full, it appears loose but not scattered. Its pen strength is solid, the momentum is strong, the qi pulse is smooth, the thickness is not lost in femininity, and the elegance is not lost in dignity.
About the Author
Chen Haifeng was the chairman and secretary of Anhui Ocean Wind Culture Media Co., Ltd., a first-class advertising enterprise and a listed company on the New Third Board, the president of Ma'anshan Advertising Association, and the consultant of the presidium of Ma'anshan Artists Association.
From 1981 to 1993, he worked as a senior art editor at Ma'anshan Daily, and published thousands of inscriptions, illustrations, mastheads, sketches and cartoons for more than a decade.
He is currently studying at the China Academy of Art.