If we want to talk about famous calligraphers in Chinese history, we have to mention the "Four Great Masters of the Early Tang Dynasty" Ouyang Qing, Yu Shinan, Chu Suiliang, and Xue Ji, of which Ouyang Qian and Yu Shinan are famous in the industry with "European Style" and "Sheng Tang Style" respectively, while Chu Suiliang is self-contained in the "Sacred Order of the Wild Goose Pagoda" that has been handed down from generation to generation. Today we will focus on Chu Suiliang's "Sacred Order of the Wild Goose Pagoda".
Part of the Sacred Order of the Wild Goose Pagoda
The Sacred Order of the Wild Goose Pagoda and the Story of Emperor Gaozong of Tang
The stele is divided into two parts, the forehead of the two stele and the direction of writing of the inscription are symmetrical left and right, with a total of 1463 words. The upper stele is the preface, the full name is "Tang Sanzang Sacred Religious Order", Tang Taizong Li Shimin wrote an article, written from right to left, commending Master Xuanzang for going to India to learn the scriptures, going back and forth for seventeen years, and translating the Buddhist Three Tibetan Essentials after returning to Chang'an; the lower stele is the preface, the full name is "Tang Emperor Shu Sanzang Sacred Teachings Preface", Tang Gaozong Li Zhi wrote, carved from left to right.
Emperor Gaozong of Tang
In the fourth year of Yonghui (653), Emperor Gaozong of Tang, Li Zhi, following the advice of Master Xuanzang, built the Big Wild Goose Pagoda at Da ci'en Temple, which was used to preserve many Buddhist texts and valuables. After the completion of the pagoda, two stone tablets inscribed with the "Tang Sanzang Sacred Religious Order" and the "Tang Emperor Shu Sanzang Sacred Religious Order" were embedded on both sides of the South Gate Cave of the Big Wild Goose Pagoda.
The specifications of the two stele are the same, the head of the stele is a round head of the cockroach, the stele body is narrow and wide in a trapezoidal shape, and the stele is a square carved with a pattern. The height of the stele is 337.5 cm, the width of the stele is 86 cm, and the width of the lower body is 100 cm. The two stele have a total of 1463 words, of which the sequence is 21 lines, the line is 42 words, the main book, the subordinate, the record is a total of 20 lines, the line is 40 words, and the main book.
Who is Chu Suiliang?
The mature period of Chu Suiliang in the new city of "Yanta Sacred Order" is also the work that best represents Chu Suiliang's calligraphy, and the whole work is viewed, the font is clear and strong, and the penmanship is skillful and old. Let's walk into Chu Suiliang together and understand his story.
Chu Suiliang was born in a family of officials and eunuchs, and his family conditions were superior. His father, Chu Liang (560-647), was one of the "Eighteen Scholars" of the early Tang Dynasty, "Young Congmin was eager to learn and good at literature." The exposition is all-encompassing, the scriptures will be remembered in the heart, and the famous people will be happy to travel, and they will be good at talking about it. In the eighteenth year, Yi Chen shot Xu Ling. Ling discussed the article with it, which was deeply different. When Lord Chen Hou heard this, he summoned fushi, Jiang Zong, and all the poets to be present, and they could not but push the good." It can be seen that his talent was revealed at a young age.
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Chu Suiliang once worked with Yu Shinan at the Yang Guangfu of the Jin Dynasty, co-directed the etiquette system of the Sui Dynasty with Ouyang Qian, and later entered the Qin Dynasty as a bachelor of literature, becoming the "founding senior elder" of the Tang Dynasty. Under the influence of his father's circle of friends, Chu Suiliang was influenced by Wei Zheng, Changsun Wuji, Ouyang Qing, Yu Shinan and others since childhood, and was erudite and proficient in literature and history. The Confucian Biography describes him as "an ancient and strange character, a person who is confused by the world, who analyzes Shen Wei and will be able to clear his origins."
Chu Suiliang's calligraphy is eclectic and compatible with the north and the south. Yu Shinan is Chu Suiliang's uncle, and Ouyang Qian is his father's friend. In the first year of Zhenguan (627), Emperor Taizong of Tang recruited twenty-four disciples of five or more grades at the HongwenGuan, "Yu Shinan Ouyang Inquiry Professor Kaifa", and the following year set up a calligraphy in Guozijian, and taught calligraphy with a doctorate of calligraphy. Chu Suiliang was then serving as the secretary of the book, and the style of writing was bound to be influenced by Yu Shinan and Ouyang Qian, that is, the so-called "obedience to Yu Prison" in Tang Zhang Huaijuan's "Book Break". Li Sizhen's "Book After the Book" also said that Chu Suiliang was "subjected to Shi Ling", although Shi Ling's calligraphy has long been nowhere to be found, but the "Book Break" once said that "(Shi Ling Shu) also has a high antiquity, which hurts the thinness", which is similar to Chu Suiliang's thin and vigorous practice of calligraphy.
From the thirteenth year of Zhenguan (639), Chu Suiliang began to identify Wang Xizhi's calligraphy works collected by Tang Taizong one by one and compiled the Bibliography of the Right Army. The compilation of the "Bibliography of the Right Army" not only provided more detailed information for posterity to study Wang Xizhi's calligraphy, but also in the process of appraisal and compilation, he gradually understood the "Second King's" practice of using virtual luck and reality to transform the real into the virtual, and finally formed an artistic style of combining rigidity and softness, clear and beautiful, handsome and dashing, integrating strength and beauty, bone and rhyme, which had a great impact on the development of calligraphy art in later generations, and together with Ouyang Qian, Yu Shinan, and Xue Ji, he was called "the four masters of the early Tang Dynasty", and was called "the vast indoctrination lord of Tang" by Liu Xizai.
What is so good about the Sacred Order of the Wild Goose Pagoda?
The Sacred Order of the Wild Goose Pagoda is written by Chu Suiliang when he was fifty-eight years old, and died six years after the book, and was called the "divine pen" of the elderly Chu Suiliang.
Part 1 of the Sacred Order of the Wild Goose Pagoda
The whole work is flowing with clouds and water, and it is empty but not empty, thin and not weak, and it is full of ethereal inner beauty. In terms of the knot of the word, the long shaped characters of Ou and Yu were changed, creating a font that looked slender, but in fact it was full of strength, and a large number of arcs were used, making the original straight and firm basic strokes softer and more euphemistic, adding a chant and three sighs. In terms of brushwork, both square and round, reverse and reverse; horizontal painting vertically, vertical painting horizontal, there are ups and downs between the beginning and the end, full of rhythmic jumps, fast or slow, orderly, for the new type of Tang Kai created a set of norms, can be described as the Tang Dynasty Kaishu "pioneering work".
Tang Zhang Huaijin commented on this book: "The beautiful woman Chanjuan does not seem to be lighter than Luo Qi, and the lead Hua is about to have more than enough. Qin Wenjin also commented: "Chu Dengshan shu, looks like Luo Qi Chanjuan, looks like a copper Ke Tie gan." This monument is particularly graceful and elegant, and the waves are like gossamer. Can pass out the subtleties of the turn one by one, the essence of Mole, for the crown of the Tang dynasty. ”
Chu Suiliang had entered old age when he wrote this monument, and by this time he had created a whole set of norms for the new Tang Kai.
Partial close-up of the Sacred Order of the Wild Goose Pagoda II
Until now, the Influence of the Sacred Order of the Wild Goose Pagoda is also enormous
The "Sacred Order of the Wild Goose Pagoda" led to a new style of The Tang Dynasty, and Chu Suiliang was therefore heavily written in the history of calligraphy. The three families of the early Tang Dynasty, Ou, Yu, and Chu, were also called the world of books, but the person who really opened the door to the Tang Dynasty's calligraphy was none other than Chu Suiliang, especially the "Sacred Order of the Wild Goose Pagoda" is more innovative of the times.
Illustration of the "Sacred Order of the Wild Goose Pagoda"
Xue Ji's calligraphy, shi Cheng'ou, Yu, Chu three families. His maternal grandfather Wei Zheng was a famous courtier during the Taizong period, and the family also collected many famous calligraphy inkblots, most of which were the inkblots of Yu Shinan and Chu Suiliang, so Xue Ji could observe these works day and night, and then deliberately pursue imitations, forget to eat and sleep, and finally learn to become famous all over the world. Among the works that have survived to this day, the "Monument to the Zen Master of Xinxing" can be regarded as a representative work of his calligraphy.
The "Monument to the Zen Master of Xinxing" is a manifestation of Xue Ji's calligraphy from Xue Shinan to Chu Suiliang. The "Monument to the Zen Master of Faith and Practice" obviously draws on the artistic characteristics of Chu Suiliang's "Sacred Order of the Wild Goose Pagoda", whether it is its slender and strong glyph structure arrangement, or the use of the brushwork in the stele, as well as the overall virtual and solid cloth white, you can see the shadow of the "Sacred Order of the Wild Goose Pagoda", which has a kind of qingjian juanxiu charm. Tang Zhang Huaiyun: "Shuxue Chu Gong, You Shangqi is beautiful and beautiful, and his flesh and skin are half of the teacher, which can be described as the high foot of Henan Gong, and it is very precious at the time." ”
As a representative of Chu Suiliang, who opened the portal of the early Tang Dynasty, his calligraphy was naturally deeply respected and loved by posterity, and there were not a few who followed his vigorous practice of comfortable style, and Wei Qiwu was one of them.
Wei Qiwu, whose calligraphy mainly studied Chu Suiliang, his surviving works are only the "Shancai Temple Stele". The handwriting of this stele is relatively symmetrical, the strokes are round and fluent, the knots are square and rigorous, longitudinal and flexible, the opening and closing are natural, and the spirit is full of spirit. The basic strokes such as horizontal and vertical in the stele are very similar to those in the "Sacred Order of the Wild Goose Pagoda", and in the use of the pen, it is also to learn the style of the Chu body, and to make good use of the calligraphy to make the characters flexible and lively. The glyphs are thin and strong, the lines are strong and condensed, and the characteristics of the Chu body are very distinctive, inheriting and developing the calligraphy style of Chu Suiliang.
The art emperor of the Northern Song Dynasty, Emperor Huizong of song, Zhao Tuo, was also one of the followers who studied the Sacred Order of the Wild Goose Pagoda, and he created a thin gold body on the basis of learning Chu. Liu Xizai of the Qing Dynasty mentioned in the "Outline of Art" that the calligraphy of Mi Fu was mainly from Chu Suiliang. Zhao Shijun of the Qing Dynasty was also a follower of the "Sacred Order of the Wild Goose Pagoda", and his copy of the "Sacred Order of the Wild Goose Pagoda" was accurate in shape and rich in meaning, which can be regarded as a good copy.
Even today, in the 21st century, the "Sacred Order of the Wild Goose Pagoda" is still regarded as a classic law by teachers and students of calligraphy majors and the majority of calligraphy enthusiasts, and in today's calligraphy exhibition we can still see the works of the "Sacred Order of the Wild Goose Pagoda". It can be said that Chu Suiliang's "Sacred Order of the Wild Goose Pagoda" has had an uninterrupted influence on the development of Chinese calligraphy since its inception, and in the long river of calligraphy history, the stele has written a strong and colorful stroke.
【Source: Phoenix News Client】
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