Li Yong's "FengBei Ti" Mo Tuo, circa 22 years after the new century [734]. Line book. Where there are 4 lines, 44 words vary, counting 35 words. The first bibliography can be found in Song Tuo's Tan Ti.
Interpretation: Farewell to eternity, chi to the depths. It is ripe, but the movement is more than a good boy, and it is rested. Yong Coarse (Er), without a word, Phi Yun but increased his □. Cherish, cherish, be careful.
Li Yong's calligraphy had a great influence in the Tang Dynasty, but historically, the main influences were mainly on the Five Dynasties and the Song and Yuan Dynasties. The time of five generations is relatively short, and there is mainly a Yang Ning style. It is generally believed that Yang was mainly influenced by Ou and Yan, in fact, what Yang learned was very mixed, and from the four authentic works he passed down, it seemed to come from the hands of four people, of which the "Leek Flower Thesis" resembled the "Lu Zheng Dao Stele". Yang Ningshi was also the pioneer of xingshu yi writing, and directly influenced the prosperity of the Song Dynasty xingshu.
However, in addition to Yang Ningshi, the most influential on the Song Dynasty xingshu were Yan Zhenqing and Li Yong. There is one obvious common denominator among these three families, that is, they are majestic and magnificent, of which Li Yong is the most gorgeous. These three are most concentrated in Su Dongpo's body, and Li Yong's unrestrained and gorgeous romantic atmosphere is exactly the same as That of Dongpo. In the Yuan Dynasty, Zhao Mengqian, although he always adhered to Li Yong's method of writing tablets, just like his other writing efforts to pursue the "Second King", was eventually replaced by a kind of flattening and sweet ripening, and Li Yong's natural extravagant and gorgeous atmosphere was almost gone.
After He Shaoji in the Qing Dynasty, Li Yong almost became a compulsory object for scholars, including Lin Sanzhi and Sha Menghai. Because now the writers all know that the "Second King" must be learned, but it is not well learned, and it is easy to walk the sweet and familiar clichés, and Li Yong's majestic style of righteousness and awe has just avoided this trap; at the same time, it is also a bridge to understand the questions of the "Two Kings" and Song Xingshu.