Since Yan Zhenqing came out, Yan Body has been sought after by posterity to emulate. Liu Gongquan even used the Yan body as the framework to create a handsome and skeletal willow body, which was called "Yan Jian Liu Bone" together with the Yan body. During the Five Dynasties period, Yang Ningshi taught Fa Yan Zhenqing, "the next pen to wu si lan". In the Northern Song Dynasty, after five generations of Yu Xu, shang yan body is strong, and readers have begun to study calligraphy with yan body as a model. The "Four Houses of Song" were all blessed by Yan Zhenqing, and opened the "Shangyi Book Style" of Song Zhenqing for more than three hundred years, and Yan Shu had the merit of "inspiring anger".
Among the four families of the Song Dynasty, Cai Xiang was the first to take Yan Zhenqing's inscription as a sect. His calligraphy works are like a Lu Gong style, the works are simply "Duo Pagoda Stele", and dong Qichang's small calligraphy in the Ming Dynasty revealed that he had written "Duo Pagoda Stele" under his pen... It can be said that as soon as the self-yan body comes out, the calligraphy of future generations is not affected by it.
Cai Xiang Kai Shu
↓ Wen Zhengming's small Kaiba "Long Live the Heavenly Sticker" is also the knot of many pagodas, you want to say that it is also possible to take the law from Dunhuang to write the scriptures, do not raise the bar, the Ming Dynasty people have not seen it!
The picture has been modified
↓ Dong Qichang's "Long Live the Heavenly Sticker" wrote that "Wenzheng Zhongqi nian as a fly-headed trek, You Kebao also", by the way, he held a piece of Wen Zhengming. Although the faces of the two calligraphers in the inscription of "Long Live the Heavenly Stickers" are different, the genes of "Many Pagodas" are also flowing in their physiques.
↓ Dong Qichang's "Answering Difficulties Dongfang Shuo" is also possessed by "Many Pagodas". In natural writing, the inscriptions I learned when I was a child can't get rid of them.
↓ Dong Qichang's "Small Grass Thousand Character Text", cursive also has a bit of a treasure flavor, "fishy" is difficult to go .........
Tang Kai, especially Yan Zhenqing's calligraphy, has had an influence on later generations of calligraphy. Now I would like to introduce the works of Yan body in the first national exhibition of calligraphy and seal engraving in 1980. The authors are: Chu Tunan Geng Zhongxiao (yang), Fan Peijian, Zhu Xueda, Zhou Zhaoyi, Li Huasan, Zhang Cheng, Song Guangxi, Shen Xilan, Zheng Jiazhen, a total of ten scholars.
1 Chutunan
Chu Tunan: 1899-1994, a native of Wenshan, Yunnan. He was a professor at Jinan University, Yunnan University and Shanghai Law School. After the founding of New China, he successively served as a professor at Beijing Normal University, director of the Southwest Cultural and Educational Committee, president of the Association of Foreign Cultures, and chairman of the Central Committee of the China Democratic League. He is a well-known social activist, educator, writer, translator, collector, scholar, and a well-deserved calligrapher in modern times.
His calligraphy retains yan Zhenqing's outward characteristics on the knot, and the face is full of yan "tendons" and seal qi. There is no slack on the pen, the pen kills the paper, it is slow and not bloated. His horizontal paintings are mostly based on the brushwork of Lishu, and the style is high, directly following the lu gong and the han and Wei six dynasties inscription moya. The words are also strict and dangerous, and the atmosphere is murky, and it is awe-inspiring and inviolable. The author was eighty years old at the time, and had reached the age of old books.
[Speaking of the problem of killing paper and pen power, many calligraphers talk about pen power, which makes beginners puzzled.] Therefore, in order to enhance the strength of the pen, some people hold the pen hard and try to make the line "into the wood three points". However, writing is not greater than anyone's strength, it is a cleverness. You can try to use a very heavy pen grip to draw a horizontal, and then use a very, very light force (the pen can not fall off, and then keep the pen perpendicular to the paper or slightly reverse the state) to draw a horizontal, repeated experimentation, you can appreciate that when the pen grip is very light, the resistance of the pen tip and the paper surface becomes very large. At this time, the lines written are into the paper. 】
2 Geng Zhongxi
Geng Zhongxiao (1910-1993) was originally named Mao Zhao (懋昭), the character 忠敭, and was not signed juxiang bookstore. The author was 70 years old. In writing, he is very careful, the beginning and end of the strokes are very clear, and the pen is meticulous, reflecting a very good calligraphy literacy. To say two sentences, the tension of the words is weaker than the classic inscription of the yan body. If you look at it according to the chapter method of the Yan body, the comfort between the words makes the outward characteristics of the words of the work no longer obvious, each word is slightly restrained, and the meteorological is more than enough and the opening is insufficient.
Look at Yan Zhenqing's big and small characters "Magu Immortal Altar" to understand.
↓ Inoue exaggerated the characteristics of Yan in learning the yan body: he tried his best to compress the external space of the word, and the scales between the words were close and seamless. Writing in this way, in the dot painting may not be faithful to the original post, but in the brushwork, the spirit is to touch the spiritual core of the Yan body, very flavorful.
3 Fan Peijian
Fan Peijian, character mirror ru, alias Lai Yin Wood. Born in 1906 in Huang County, Shandong Province. Studied under Ding Buddha. He is a member of the Chinese Calligraphers Association and a director of the Heilongjiang Calligraphers Association.
This character should be from the "Yan Qinli Monument", and there are several words such as "South, For, Bao, None" that are almost the words on the original post. However, on the basis of the original stele, the author changed the chapter of the stele, and the size of the words was more staggered, there were no rows, full of writing, vivid and lively. The author's writing state is very relaxed, and some spontaneous strokes that appear from time to time make the whole picture more flexible. The author was 74 years old.
4 Zhu Xueda
Zhu Xueda (1933-2005) is a native of Xin'an, PingduMing Village, Qingdao, Shandong. The author was 47 years old. Is this painting too demure? It's a bit like Liu Bingsen writing a letter of a letter, the four corners are propped up, not to make mistakes. However, the structure of the four flat and eight stable treatment, each word is generally large, gets a strict degree of law, and loses the possibility of changing and innovating. Commented on.
5 weeks Zhaoyi
Zhou Zhaoyi (1912-1989) female, from Changsha, Hunan Province, graduated from the Department of Chinese of Hunan University.
This is a contemporary female calligrapher's book entry, and the reason why it is included in the Yan body is because the author is famous for writing the Yan body. The shadow of the Yan body can also be seen in this book work.
Let's take a look at her facial work.
The picture above is a couplet written by the old man invited for Yuelu Academy. Big characters, write out the big husband's anger. It can be said that the scarf does not let the eyebrows be shaved.
I will write here today, and the next issue will introduce the works of the next five authors.
Thanks for reading [handshake]
2021.10.15 in Jinan