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In the history of China, there is a calligrapher known as "Yiren", in the history of Chinese culture and the history of calligraphy he is an extremely important figure, recorded in historical materials, can be good at writing, he is the famous calligrapher of the Tang Dynasty Li Yong, Li Yong is famous for his literary talent, especially good at writing inscriptions. The reason why Li Yong's calligraphy can occupy an important place in the history of calligraphy, its profound skill lies in his position in the second reform of calligraphy in the Tang Dynasty, and it is inseparable from his cultural cultivation, from his representative works "Li Sixun Monument", "Li Xiu Monument", "Lushan Temple Stele", etc., the realm of his calligraphy is not only in technique, but also in profound literary accomplishment, or "Jin Tang" calligraphy is in a high position, with a major contribution of Li Yong. Therefore, in the line of the history of Chinese calligraphy, Li Yong has an important position.
During that period of the Tang Dynasty, the literati felt sorry for each other, and Li Yong had a deep relationship with Du Fu and Li Bai, and after Li Yong's death, Du Fu was devastated, and he cried:
"Potuo Qingzhou blood, Qiang Wu Wen Yang fistula" .
Note: Li Yong was the Taishou of Beihai at that time, and Beihai was the area around today's Qingzhou, which was called Yidu during the Tang Dynasty.
His friend Li Bai was also extremely angry, sighed extremely, and shouted to the heavens:
"If you don't see Li Beihai, where is the heroism and arrogance now?" Jun did not see Pei Shangshu, and the earthen tomb was three feet of artemisia thorn dwelling."
This article begins with its calligraphy. Li Yong's calligraphy was mainly derived from Wang Xizhi of the Wei and Jin dynasties, and at the same time absorbed Zhong Xuan, Zheng Daozhao, Yu Shinan, Ouyang Qian, and others. From his masterpiece "Li Sixun Monument", it is clear that they are using pens, knots, etc. to take the Fa Wang Xizhi, especially the similarity with the appearance of the "Jiwang Sacred Order", which can infer his calligraphy path.
"Li Sixun Monument" expands the part
The "Li Sixun Monument", also known as the "Monument to General Yunli", the full name is "Tang Dynasty General Yunli General Right Wu Wei General Presented to the Governor of Qin Prefecture Peng Guo Gong Yue Zhao Gong Li FuJun Shinto Monument and Preface", no matter which one is literary or calligraphy is a historical classic. The stele is written in lines, the style of the book is thin, awe-inspiring, the knotted words are longitudinal, the odd and smooth, its ups and downs are moving, and the care is godly, which can be described as a change of style of the stele. The stele was written by Li Yong when he was 43 years old, and he was in his prime, and the level of calligraphy was at this time when he laid the bold style. The body of the stele takes the momentum of length, and there is a strange and smooth beauty, the bone strength is stored in the wind god, and the escape is between the dot paintings. The pen is indulgent, and there is a strong momentum in the beauty. The flow of air throughout the pen is broken, looking forward to each other, and leaning forward. The whole tilts upward to the right, which is where the style of Li Yong's calligraphy lies, the lines are particularly prominent, the elongated lines do not appear to be redundant, and the bone strength is still there.
"Li Sixun Monument" is a model for the learners of the past, is the classic that cannot be crossed by the study of the book, in the history of the book, the "Jin and Tang" all the way, the first to learn Wang Xizhi, the next is Li Yong, this is the orthodox road of the book.
Before studying the stele, we first analyzed the basic stylistic characteristics of the book body, which featured the following features:
<h1 class="pgc-h-arrow-right">1． The right is small and the left is large, keen on innovation</h1>
Ouyang inquired about the "Thirty-Six Laws of the Knot Body" in which one law and four "give in", saying so
"The left and right of the word, more or less, must give way to each other, in order to be perfect."
Li Yong, on the other hand, has a unique innovation, and some of the left and right structures of the characters are written in a huge disparity between the left and right, and the left is written as large and right. Such as "return", "difficult", "lin", "desire" and other words. But similar to this kind of left and right disparity in words, did not lose balance, the reason is that the biggest feature of Li Yong's style of calligraphy, the whole is tilted to the upper right, but the left side is large and dragged to the right, there is a force to carry the top,
<h1 class="pgc-h-arrow-right">2． The next stroke is quite towering, and the situation is dangerous. </h1>
"Home", "Constant", "Cloud", "Comfort"
Danger is one of the most sought-after features of Li Yong's calligraphy, which is highlighted in the Li Sixun Monument, such as the characters with the upper and lower structures. The most important thing for the words of the upper and lower structure is to seek stability and maintain a balanced trend. Li Beihai, on the other hand, did the opposite, pretending to be dangerous and often exaggerating the top and shrinking it down, creating a top-heavy feeling. Such as "home", "constant", "cloud", "comfort" and other words. This structural relationship between the upper and lower virtual and the real constitutes a sharp contrasting relationship.
<h1 class="pgc-h-arrow-right">3． Long and short, funny</h1>
"Decisive", "Great", "Husband", "Official"
The knot of the word, the left light and the right weight, is in line with people's visual aesthetic psychology, so the short stroke has become the structure of the word. Many of the characters in this stele are written in long skimming and short strokes, which have become Li Yong's original creations, and are full of new meanings such as "decision", "big", "fu", "official" and so on
<h1 class="pgc-h-arrow-right">4． The main pen is stretched and eye-catching</h1>
The overall structure of a word, first of all, must consider the image treatment of the main pen, and the arrangement of the rest of the strokes occupies a secondary position. Li Yong often uses exaggerated techniques, And Li Yong handles such character knots, showing people with an overall image, highlighting the main brush, and the strokes appear powerful and vivid. Words such as "matter", "matter", "punishment", "戟" and so on are exaggerated and elongated, appearing to be full of vigor and dazzling. Ming Wang Shizhen said: "Li Beihai is arrogant and arrogant, and at first glance he is not respected, but Jiu Nai loves it, such as Jiang Ziwen, who is good at wine and bone green, and competes for the gods." ”
Ming Yangshen's "Collection of Alien Nunnery":
"Li Beihai's book "Monument to General Yunqi" is the first, and its melting liquid QuYan, Xu Yanyi, and the French "Lanting", but the difference between the pen and the pen increases its millimeter, and the abundance of the body makes it beautiful, such as Lu Qian's lower dynasty, leisurely and elegant, haunting and returning, and all have implications."
Qing Liang Wei's "Records of chengjin zhai ji ji":
"Li Beihai's "Li Sixun Monument" has been extremely easy..."
From the evaluation of this stele by the former sages of calligraphy, it can be seen that the li sixun stele has a position in the history of calligraphy. In the history of Chinese calligraphy, the book saint Wang Xi has the dignity of the Beidou, and Li Yong is also an important town in history, and his status is also pivotal.
Ming ▪ Dong Qichang evaluated Li Yong
"The right army is like a dragon, and the North Sea is like an elephant"
Their stylistic differences are pointed out from the intention. This difference reflects that the right army is more refined, and the North Sea is more important than the macro structure.
Li Yong studied calligraphy with Wang Xizhi but also had great creativity. Ming Xiangmu's "Calligraphy Yayan":
"Li Yong first learned from Yi Shao, got rid of old habits, updated his pen strength, shrugged his hands, and finally lost his embarrassment, the law was great, and the rate was particularly high, and the real beginning of this trip also changed."
The end of Wang Xi's journey
Wang Xizhi's "Preface to the Holy Teachings of the King"
Exquisitely constructed, subtle places are almost not easy to echo with the slightest movement, there is a sense of moving a little and looking at the eye. However, Li Yong can be slightly better in momentum, not in the position of dot painting, and strive to move the pen freely and in a coherent form, which has become a major feature of Li Yong's calligraphy. It is manifested in the "Li Sixun Monument", that is, the pen is bold, the body is thin, the ups and downs are turned, and there are more straight than the curves.
The knot of the "Li Sixun Monument" has been greatly exerted on the basis of being familiar with Wang Xi's zigzag method, and careful tasting can be found that the vertical structure of the font, the main feature is that the upper part of the glyph stretches and the lower part shrinks, forming the upper part of the cloth white and empty, the lower part of the stroke is dense, even if it is a vertical painting, thus visually causing the feeling of the glyph being upright and towering. The horizontal glyph, with its tension and tension, is average on the back, so that the static structure has a tension, so that it forms a crisscrossing and bone-like appearance.
The Xuanhe Book Genealogy says:
"Yong beginner learned, changed the right army to practice the law, ups and downs, the magic of the present, the restoration is to get rid of the old habits, the pen strength is a new."
This is a high evaluation of this calligrapher in the Tang Dynasty!
Therefore, li yong must not fail to learn to learn, and the master Qi Baishi calligraphy benefits from Li Beihai. Although Mr. Bai Shi is a painter, his calligraphy level is extremely high, which is probably the quality that a Chinese painting painter should have.