Abstract: Du Fu is famous for his poetry in the art history of the Tang Dynasty. His poems involving calligraphy help us grasp the history of calligraphy in the Tang Dynasty. The view he put forward based on the calligraphy of Chu Suiliang and Xue Ji that "the more expensive the calligraphy is, the thinner and the harder it is, the more spiritual it is" is actually a summary of the history of calligraphy before the Kaiyuan period of the Tang Dynasty. The Zhang Xu cursive script, Li Chao's eight-point calligraphy and the 8-point calligraphy he sang in his poems The trend of advocating fatness that he opposed reflected the state of calligraphy during the Kaiyuan period, thus establishing Du Fu's important position in the history of calligraphy theory. His calligraphy works in regular script, official script, and running cursive script, and is executed with intention as a whole. He appreciates the ancient and majestic style, and pays attention to the speed, rhythm, strokes, ink techniques, etc. in writing. He was also a very profound calligrapher in the Tang Dynasty. , it can also be seen from his poems that his view of calligraphy creation is undoubtedly mature.

Keywords: Du Fu's calligraphy, thin and hard Kaiyuan creation

Du Fu and Li Bai can be said to be the two peaks of Tang Dynasty literature in poetry creation, but as far as calligraphy is concerned, they are different. There is emphasis. Li Bai, represented by "Tie on the Upper Balcony", has a very high level of calligraphy creation; although Du Fu's calligraphy works passed down from generation to generation include "Poems and Stone Carvings of Kui Gorges in Liangchuan", "Ling of Ancient Cypresses", etc., and Tao Zongyi of the Ming Dynasty wrote in "History of Calligraphy" There is the following record: "Du Fu...Fang Kuang did not examine himself, liked to talk about world affairs, wrote poems and was good at describing current affairs, and was known as the history of poetry. He was a master of regular cursive writing." However, most of his calligraphy creations have been ignored by the world. In the history of calligraphy, Du Fu's status is mainly determined by his poetry on books. His poetry on calligraphy was extremely influential in the mid-Tang Dynasty and after. This article explores Du Fu's status and contribution in the history of calligraphy from two aspects: calligraphy theory and calligraphy creation.

1. Calligraphy is expensive, thin and hard - before the Kaiyuan period of the Tang Dynasty, Du Fu, the mainstream calligrapher, often mentioned Chu Suiliang and Xue Ji in his poems on calligraphy, such as "Sending Liuxia Prefecture Bohua Envoy Jun Forty Rhymes" 》?quot; He studied with Lu Wangmin and wrote with Xue Neng. "Fa Tanzhou": "Jia Fu has no talent, but Chu Gong's writing is unparalleled." "I admire very much the calligraphy of Chu and Xue Ergong. Chu Suiliang and Xue Ji were both among the "Four Regular Script Masters" in the early Tang Dynasty. Their styles are similar. In the history of calligraphy, there is a saying that "you can get Xue by buying Chu without losing his integrity." Among the handed down works of Chu Suiliang , "Yanta Shengjiao Preface" is his representative work in the mature period. His calligraphy style is characterized by thinness and strength, which is a typical example of what Du Fu called "the calligraphy is expensive, thin and hard". It is called "Sparse Thin Jin Lian" and "Thin Thin Hard Spirit". Wang Shu of the Qing Dynasty wrote in "Bamboo Cloud Inscription and Postscript: Preface to the Holy Religion of Henan Wild Goose Pagoda": "The reviewer said that this book is like 'Yao Tai Qingsuo, reflecting the spring forest. "The beauty of Chanjuan is not as good as Luo Qi'. This only has the beauty of Chu Shu." Henan Lienzhao established Wu Zhaoyi, quoted the most righteous advice, kowtowed and shed blood, placed the scepter on the ground, and said, "Return the scepter to Your Majesty." How is this backbone different from iron and stone? It is appropriate for his brushwork to be as thin and strong as iron wires. As the saying goes, "it only has it, so it is like it". The commentator only compares it with lightness and weakness, and is not someone who knows Chu Gong. "As for Xue Ji's calligraphy, Wang Xuzhou's "Xuzhou Inscriptions and Postscripts" said that "the pen is thin and the characters are smooth, and it is unique." "As for his large calligraphy, Du Fu's "Viewing Xue Ji Shaobao's Calligraphy and Painting Wall" praised: "Shaobao has an ancient style, which is why he wrote the chapter on the suburbs of Shaanxi. It's a pity that he doesn't deserve his fame, but he can see his calligraphy and painting biography. I traveled to the east of Zizhou and found the ruins beside the Fujiang River. The painting of Tibetan blue lotus world, the book is on the gold list. Looking up at the dew posture, it neither collapses nor dries up. "The three characters of Yu and Yu are intertwined with dragons..." Mi Fu's "Haiyue Quotes" disagrees: "Lao Du's "Xue Ji Huipu Temple Poems" says: 'The three characters of Yu are entangled with dragons.' Today there is a stone book that can be seen, but the outline is drawn backwards, the strokes are like steamed cakes, and the character "Pu" is like a person holding two fists and standing with arms outstretched, which is ugly and difficult to describe. From this point of view, it is clear that there is no true big character in ancient times. "Xue Ji wrote about Huipu Temple, and Lao Du thought that 'dragons are entangled in each other'. Now that I see the original, it is like a heavy-handed person holding a steamed cake. I believe that Lao Du could not write. "The three characters "Yu Yu" have disappeared to this day, but Du and Mi came to completely opposite conclusions when faced with the same work. Which one is right and which one is wrong? Comments on Sha Menghai's "Commentary on Haiyue's Famous Sayings" Said: "Xue Ji learned calligraphy and Chu Sui was good at it, but he was thinner and tougher than Chu. Drawing back the front of the brush was a technique used by people in the Tang Dynasty. Later generations may call it "hiding the front" or "returning the front". Mr. Mi didn't like this method. "The reason is that Mi Fu's criticism is mainly based on his own view of calligraphy. Mi Fu's understanding and utilization of Erwang's calligraphy are rare in the history of calligraphy. His starting point and perspective are naturally similar to those of a poet and calligrapher. Du Fu is different.

However, Mi Fu strongly agreed with Du Fu's idea of ??"thinness and hardness lead to spirituality": "When Tang Guan Gao was alive, he had the body of Chu, Lu, and Xu Qiao, and he was particularly outstanding." The Kaiyuan Dynasty had come, and due to the fatness of Emperor Ming's calligraphy, Xu Hao began to appear. In line with the emperor's preference, the characters of the classics also became fatter. The ancient spirit of Kaiyuan has never been restored. "During the Kaiyuan period of the Tang Dynasty, the famous calligraphers still alive include Yan Zhenqing, Zhang Xu, Xu Hao, Tang Xuanzong and others. Due to Xuanzong's pursuit of calligraphy and political status, many people, including Xu Hao, used the monarch's preferences as a means of promotion to Qianlu. There was an aesthetic trend characterized by advocating plumpness, not only in calligraphy, but also in other arts such as sculpture, figure painting, etc. However, Du Fu was not yet clearly aware that the change in people's aesthetic orientation had become a general trend. He just realized that the calligraphy style that advocated fatness was very different from that in the Zhenguan period. Based on this, he strongly admired the thin and hard style of calligraphy represented by Chu and Xue before Kaiyuan.