Introduction: As the mainstay of Tang Dynasty calligraphy, Chu Suiliang's influence is both profound and extensive. Liu Xizai's "Book Outline" said: "Chu Henan is the great master of Tang's education. "It is indeed in line with the historical situation.
The Erwang calligraphy style is regarded as an orthodox position in the long history of Chinese calligraphy, so there are countless calligraphers who have studied erwang calligraphy from ancient times to the present, and Chu Suiliang is among them.
His calligraphy is high and ancient, and his brushwork is deeply influenced by erwang, and he also shows himself while learning erwang calligraphy, forming a unique calligraphy art style - "Chu style". This pattern of leniency and looseness and rich and energetic training began to break away from the influence of the early Tang Dynasty calligraphy and became the representative of the Qili Portal, and the mature performance of "Shangfa" played an indoctrinating role in the development of Tang Dynasty calligraphy.
Monument to Master Meng
Although there are only four works passed down from generation to generation, it seems to have come entirely from the hands of two people
There are only four works handed down by Chu Suiliang, but from these works we can appreciate different artistic styles. Judging from the two works in the early stages, although the "Monument of Master Meng" is only one year after the "Monument of the Yi que Buddha", its style of writing will be so different that it is difficult for other writers to resist.
The "Monument to the Shrine of the Buddha" uses a square pen, a wide knot, and a lot of reference to the fa. And because it is a cliff carved stone, the momentum is particularly open, showing a majestic and handsome beauty, a change of The European Book is tightly knotted, and the peaceful beauty of Yu Shu is changed.
"Meng mage stele" melts Europe and Yu into one, not only absorbs the vigorous and dangerous pen of Ou Shugang, but also integrates the elegant and broad knot body of Yu Shu, the glyphs appear square and beautiful, and the changes of ups and downs are added when the pen is written, and some words participate in the posture of the Book of Lishu, with the elegant and solemn meaning of the Six Dynasties inscription.
Judging from his two early works, he basically followed the old grid of the "Book of Inscribed Stones" since Chen, Sui and Ou, writing peacefully and steadily, pursuing the sense of fullness and reality of the bone method with the pen, and showing the relationship with the inheritance and development of his predecessors with the style of taking the horizontal posture. Only by achieving this can Chu Suiliang show a truly unique artistic style of his own in his later years.
With the change of artistic personality and emotions, Chu Suiliang eventually abandoned the earlier style and created a newer and more exhilarating artistic style, and the birth of the Fang Xuanling Monument and the Sacred Order of the Wild Goose Pagoda is a sign of the maturity of this new style.
"Fang Xuanling Stele" began to add calligraphy with a pen, the vertical stroke appeared to protrude outward feeling, the horizontal painting left low right high is obvious, the elasticity of the stroke is greater, compared with the previous straight, the whole word appears more flexible, the combination of the beginning of the pen circle, completely changed ou and Yu's "one stretch down". In addition to using a different pen than before, the strokes are also thinner, and on the knot body, the flat and wide knots of the previous period are changed, and adduction begins to appear.
The "Sacred Order of the Wild Goose Pagoda" is slightly thicker than the strokes of the "Fang Xuanling Monument", which makes the lines full of strength and the writing intentions of the pen, so that the expectation between the strokes increases, and the vitality of each word is more vigorous. Chu Suiliang repeatedly boldly extended the strokes such as long horizontal and skimming, and the vertical and horizontal folding hooks boldly stretched outwards, making the words surrounding the structure more open, laying the foundation for the structure and momentum of the Opening of the Middle Tang Dynasty Yan Zhenqing.
Monument to the Ique Buddha Shrine
02 The monument and the post are perfectly integrated
The letter came into his hand, and for the first time, the stele and the post were perfectly integrated, and they were sung for thousands of years, thus creating an era.
From his later works, the following characteristics can be experienced:
The first is to integrate the style of the book into the book of inscriptions, so that the penmanship, gesture and structure of the calligraphy have been liberated to the greatest extent, and a new world has been opened up for the practice of the calligraphy. That is to say, just write its dot painting more lively, and simplify the side head and some strokes, and the upper and lower words can be directly written into a line book. In this regard, it has the greatest advantage in all the calligraphy, opening up a new door for the future study of calligraphy.
Secondly, in the creation, Chu Suiliang adopts the potential to generate the momentum, the method of potential, and the formation of the potential, which enhances the penetration and connection between the dot paintings, highlights the sense of flow and rhythm between the dot paintings, and emphasizes that the pen can reach its intention and luck, and there are things in the guineng, there is rhyme, there is change, and the traces are preserved. Moreover, a number, in one go, fully shows the "silent sound" in calligraphy, so it is natural to write about the dry pen at the place of strength.
Because of this, the pen is eight-sided out of the front, eight sides of the momentum, left and right reflection belt, flying up and down, exhaustive change, one gas luck. In this way, not only does the technique of the bone method with the pen be clarified, but also enhances the vividness and richness of the pointillist brush, so that the brush strokes more obviously contain lyrical colors, so it is called the master of Tang Dynasty calligraphy.
In addition, Chu Suiliang adopts a combination of lifting and pressing when writing, that is, Yan Zhenqing's so-called "house leak marks", in the midst of twists and turns, he obtains a kind of ancient vine-like stoic aesthetic imagery, which enhances the depth of the brushstroke. Give full play to the advantages of the long-edged pen, use the center even if it is pressed to eight points, and the thickness of the stroke corresponds to the diameter of the pen. In this way, it can not only strengthen the strength of the pen, but also make the dot painting tight and thick, which is an extremely important feature of the pen used in Chu characters.
In terms of calligraphy, the method of subordination is adopted, and the horizontal posture is taken, especially the method of twisting, which is connected with the "Ceremonial Instrument Stele". So that the whole word has been strongly supported in the book, and the artistic purpose of "handsome plucking a corner" has been achieved. Of course, this kind of subordination is only the overall temperament, not the accumulation of techniques, mainly to show the breadth of the book and the artistic appeal of horizontal flying. These are not only the characteristics of Chu Suiliang's calligraphy, but also the places that have a profound impact on future generations.
The Sacred Order of the Wild Goose Pagoda
epilogue:
From the breakthrough of the "Two Kings" style of writing, Chu Suiliang was the first person and the most successful one among the "Four Families of the Early Tang Dynasty". Of course, this breakthrough is based on the first two, and provides a very clear clue of inheritance and development, which not only has important research and reflection value for the past and even today.
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