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At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the calligrapher and painter Guizhuang calligraphy appreciation

author:Smell is culture
At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the calligrapher and painter Guizhuang calligraphy appreciation

Guizhuang (1613~1673), calligrapher and painter and writer of the late Ming and early Qing dynasties. A Zuo Ming, the character Xuan Gong, the number Hengxuan, the People of Junju Mountain, etc., a native of Kunshan County, Liuyu Changshu. He is the great-grandson of Youguang and the son of Gui Changshi. At the age of fourteen, he supplemented all his lives, wrote books, good books, painted ink and bamboo, was addicted to alcohol, and was not promiscuous. It is equally famous with Gu Yanwu, and is sometimes called "Guiqi GuWei". He was sixty years old.

The "New Chronicle of Kunshan" claims that he worked on the various books of the body, and the works he made in his prime of life directly chased after the two Jins. This sketch is written smoothly and quietly, with a Jin style.

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the calligrapher and painter Guizhuang calligraphy appreciation

Seven Scrolls of Cursive Poetry, 140.1×64.5cm

Interpretation: The relics are like pillows in the ink pond, and Jiang Zuo also pushes the first class. The famous saying of salvation worries about the country's aspirations, and the translation is hidden by an art.

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the calligrapher and painter Guizhuang calligraphy appreciation

Sketches of the Seven Great Titles on Paper 19.5 x 26.5cm

At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the calligrapher and painter Guizhuang calligraphy appreciation

Cursive Scrolls on paper, 117 cm in length and 55 cm in width, in the collection of Changshu Museum, Jiangsu Province

The seventh sentence of the book: "The peach blossoms are fine and the yang flowers fall, and the yellow birds fly at the same time as the white birds." The pen and ink of the book are flowing smoothly, the virtual and garden are mature, and the changes in light and heavy, Xu disease, and virtual reality are vividly expressed and just right. At the end, "Guizhuang", one piece of "Guizhuang Seal" in the white text, and two other Tibetan chapters are Zhu Wen: "Guojun Secret Play", "Once in Zhu Qizhan's House".