Yan Zhenqing was studious and talented in literature since childhood. His calligraphy was influenced by Yin's family and grandfather, and at the same time he was guided by Zhang Xu. He also extensively absorbed nutrition from famous calligraphers of past dynasties, such as Cai Yong, Wang Xizhi, Wang Xianzhi and Chu Suiliang. After mastery, he created an outstanding, majestic and magnificent unique style, known as Yan Ti, and became a great calligrapher representing the Tang Dynasty. Yan Zhenqing's regular script has a solemn and majestic style. His pen is horizontal and light, vertical and heavy, and his brushwork is strong and thick. Structurally, the square is dense and round. The vertical stroke is slightly curved in the middle, soft and elastic in the middle, with heavy strokes and strong center, which adds to his magnificent, round and rich aesthetic feeling.
China's regular script reached its peak in the Tang Dynasty, with Yan Zhenqing as its representative. Liu Gongquan, a later calligrapher in the Tang Dynasty, was also influenced by Yan Zhenqing, and was later called Yan Liu. Yan Zhenqing's calligraphy is full of strength and style; Liu Gongquan's calligraphy, on the other hand, emphasizes strength and strength, so it is also called "Yan Jin Liu Gu". Yan Zhenqing's cursive script is concise and vigorous, and has the characteristics of ups and downs. His pen is full of momentum, ingenious and natural, and has the flavor of seal brush, but his cursive script still does not lose the criterion of Wei and Jin dynasties. In calligraphy theory, Yan Zhenqing, there is a book called "The Twelve Meanings of Zhang Changshi's Writing Style".
There are many calligraphy works handed down from generation to generation by Yan Zhenqing, among which the famous ink and regular script are Zhushantang Couplet Poem Post and Confession Post. The cursive script includes Ji Ming's Manuscript in Sacrifice to My Nephew, Liu Zhong's Post, Huzhou Post and so on. Among them, except "Ji Ming Manuscript for Sacrificing a Nephew", there are still different opinions on the authenticity of other works, but all of them are circulated in ink. The Manuscript for Ji Ming, a memorial to my nephew, is a draft relic. It is written naturally, and the manuscript is full of paper, but it shows the charm of Yan Zhenqing's calligraphy.
Yan Zhenqing wrote a lot of steles in his life, and the ones that have been handed down to this day are: Duobaota Monument, which is dignified and dense in structure, beautiful and charming; "Dong Fangshuo Paintings Praise Monument", with a strong style of Qingyuan; "Inscription of the Golden Heavenly King Shrine" is more dignified and vigorous; "Zang Huaike Monument" is majestic and vigorous; "Guo Jia Miao Bei" is graceful and smooth; Ma Gu Xian Tan Ji is vigorous and solemn, with exquisite structure and charm. Ode to the Great Tang Dynasty, carved on a cliff, is the largest regular script in Yan Zhenqing, and its calligraphy is square and smooth, showing no bones and muscles. The Song Dynasty Monument, also known as the Song Guangping Monument, is open and vigorous. "Baguan Pavilion reported good deeds", with strict weather; "Yuanjiebei" is vigorous and profound; "Ganlu Word Book", with emphasis on harmony; Li Xuanjing's stele is vigorous in calligraphy, but its thin strokes are not the same as other steles. Yan Qinli Monument, unearthed in 1922, is the best one in Yan Zhenqing that can convey the original features and spirit. His calligraphy is bold and neat, and it is a representative work in his later years. "Yan's Temple Monument" is rich in calligraphy, and it is also his proud work in his later years.
Yan Zhenqing's calligraphy is also carved into calligraphy posts, and most of the collected calligraphy posts in the past dynasties include Yan Zhenqing's works. The single posts include "Striving for a Seat", "Entrusting an Envoy", "Poem of Seeing General Pei off", "The Story of the Fairy Altar in Small Print" and "Seeing Liu Taichong off". Among them, "Striving for Seats" is the most famous. This post is a cursive script, based on the original stone, now Xi' an forest of steles; This post is his manuscript, and it is a casual masterpiece. Mi Fei thinks that Yan Zhenqing's calligraphy is the first because of the flavor of seal brush. Yan Zhenqing's calligraphy is specially collected in the calligraphy posts of Loyalty Hall carved in Song Dynasty, and 45 kinds of Yan Zhenqing's calligraphy works are collected in * * *, and Song Tuo's unique copy is kept in Zhejiang Museum.
Wang Xizhi's life
Wang Xizhi (about 321-379) was born in Linyi, Langya, Eastern Jin Dynasty. His family is one of the few aristocratic men in the Jin Dynasty. His grandfather Wang Zheng is Shang Shulang. His father, Wang Kuang, was the satrap of Huainan. He once advocated crossing the river in Jinshi, and established the Eastern Jin Dynasty in Jiangzuo. Wang Dao, Wang Xizhi's uncle, is famous all over the world, and he is the prime minister of the Eastern Jin Dynasty. And his other uncle, Wang Dun, was the military commander of the Eastern Jin Dynasty. Wang Langya was in power for a while in the Eastern Jin Dynasty.
because of this background, Wang Xizhi became a secretary lang as soon as he became an official, then joined the army for Yu Liang, then moved to Ningyuan General and Jiangzhou Secretariat, and finally became a general of the right army and took a look at the internal history. So people also call him "Wang Youjun".
Wang Xizhi is frank and informal, and has never admired Rong Li since he was a child. "Shi Shuo Xin Yu" contains Wang Xizhi's beautiful talk of "lying in the bed".
Chi Jian, another scholar-bureaucrat in the Jin Dynasty, wanted to marry the Wangs, so he sent his protege to the Wangs to choose a husband. Wang Dao asked people to observe his sons and nephews one by one under the east wing. When his protege went back, he reported to Chi Jian that all the teenagers of Wang's were good. They heard that the visitors were sent by the Xi family to choose a son-in-law, and they all looked reserved. Only one person eats in the east bed with his chest bare and his hinterland exposed, as if he didn't know about it. Chi Jian listened and said, "This is the husband I am looking for." Later, when I found out that Wang Xizhi was the one who ate on an empty stomach, I married my daughter to him.
From this anecdote, Wang Xizhi has a broad-minded personality since he was a child, and rarely cares about small things. Perhaps this is one of the reasons why his calligraphy is vigorous and open, with a free atmosphere and a natural and unrestrained manner. Because of this allusion, people later took "Dong Chuang Tan" and "Dong Chuang Tan" as the laudatory names of son-in-law, or called other people's son-in-law "Ling Tan".
Wang Xizhi, because of his rare reputation, was loved by the court officials and ministers. He was repeatedly called up as an assistant in the middle school and an official in the history department, but he refused to accept his resignation. He doesn't like being an official, but prefers to be quiet. During his tenure, he once expressed important and practical political views to Prime Minister Xie An and Yin Hao who participated in state affairs. He also opened a warehouse for the hungry. All these show his character of integrity without admiration for Rong Li.
Wang Xizhi loved calligraphy since childhood. When he was young, he studied calligraphy with his aunt, the famous female calligrapher Mrs. Wei. After crossing the river, he also studied the calligraphy of his predecessors, such as Li Si, Cao Xi, Zhang Zhi, Zhang Chang, Cai Yong, Zhong Yong and Liang You. This makes his calligraphy integrate the strengths of various schools and form his own family. In addition, there are many people in his family who are good at calligraphy, and his parents Wang Dao, Wang Kuang and Wang Yi are all masters, which is also very significant for his calligraphy study.
Wang Xizhi has a deep knowledge of real calligraphy, cursive calligraphy and calligraphy. His true books are ingenious and dense, opening up a new realm; His grass is long and thick; His running script is full of charm and strength. People call his words "floating like clouds, agile as a dragon"; "The dragon jumps into the heaven, and the tiger lies in the phoenix pavilion".
Wang Xizhi's calligraphy engravings are numerous, such as Yan Le Lun, Huang Tingjing, and Dong Fangshuo Hua Zan, which all occupy an important position in the history of ancient calligraphy in China. There are more than ten kinds of his cursive scripts handed down in Mo Bao, such as Cold Cut Sticks, Aunt Sticks and Early Moon Sticks. Although these Mo Bao are copies of the Tang Dynasty, they are all rare treasures. His running script "Sunny Post in Fast Snow" has only 24 words, which was listed as the first of "Three Happy Posts" by Emperor Qianlong of Qing Dynasty.
Preface to the Lanting Pavilion is Wang Xizhi's most famous masterpiece. From the literary point of view, it is a wonderful article with beautiful words and broad-minded feelings. From the perspective of calligraphy, it is known as the crown of Fa Tie and has been carefully studied by famous artists of all generations.
Wang Xizhi is also good at painting, and he is one of the earlier calligraphers who are also good at painting. His wife Xi and his seven sons are good at calligraphy, and they are a world-famous calligraphy family, which is also rare in the ancient history of China. In particular, his youngest son, Wang Xianzhi, inherited his father's learning, and further created a unique world. His calligraphy and painting were beautiful and wonderful, and he was even as famous as his father, and he was called "Two Kings".
1. The career of royal librarian
In 778 AD, in the 13th year of Tang Daizong Dali, Liu Gongquan was born in Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). His ancestor Liu Zhengli, Tang Taizhou scholar Cao joined the army, his father Liu Ziwen was once the governor of Danzhou, and his brother was Liu Gongchuo, a famous minister of Tang Dynasty.
In the third year of Xian Zongyuan's reign (88), Liu Gongquan was a 31-year-old Jinshi Ji, who graduated from Hongci in that year. From then on, Liu Gongquan began a long official career, and even lived in seven dynasties: Xianzong, Mu Zong, Jingzong, Wenzong, Wuzong, Xuanzong and Yizong.
in xian zong's reign, Liu Gongquan was the secretary of the provincial school. "Li Tingzhen Xiazhou, turned into a secretary in charge" (Old Tang Book). Li Ting had this friendship with Liu, so Liu also wrote a monument for his book in his later years.
Mu Zong acceded to the throne, and Liu Gongquan played the role. Mu Zong summoned Liu Gongquan and said, "I saw your handwriting in the Buddhist temple, and I have been thinking about it for a long time." On this day, I paid homage to the right to pick up the remains, filled the position of Hanlin as a bachelor of books, moved to the right to fill the vacancy, and sealed Yuan Wailang. Since then, he has been serving books in Mu Zong, Jingzong and Wenzong dynasties. The emperor's luck and affluent life did not bring joy to Liu Gongquan. However, there is an inescapable anguish and faint shame in his heart. He loves the art of calligraphy, but he doesn't want to take it as his whole life; The enterprising ambition of making contributions is always jumping in the chest. The status of the attendants of the emperor is only equal to that of "work wishes". Therefore, his brother Liu Gongchuo wrote a letter to Li Zongqin, the prime minister, saying, "My brother has painstakingly made a speech. He first served books to see the use, and he was quite grateful for his work. He was really ashamed and begged for a change of rank." So he changed to the right doctor, and he changed to the department seal, the Ministry of War Erlang, and a bachelor's degree in Hong Wen Pavilion.
Tang Wenzong loved Liu Gongquan's calligraphy very much, and he was also called to serve as a scribe, moved to advise doctors, and later changed to a Chinese calligrapher, serving as a scholar in Hanlin's calligraphy. After three years, he was transferred to the assistant minister of the Ministry of Industry, and he moved to the bachelor's degree.
Wu Zongchao, after quitting his duties, was given the title of regular attendant on the right riding. Cui Xun, the prime minister, used it as a bachelor's degree and a court judge.
during the reign of Emperor Xuanzong, Zuo gave the eldest son an appointment, changed his guests, and moved to Dr. Jin Ziguanglu, Shangzhu State and the founding father of Hedong County. Back to Zuo Changshi, Guo Zi offered wine, and went through the history of the Ministry of Industry.
During the reign of Emperor Yizong, in the early years of Xian Tong, Liu Gongquan was changed to a prince and a young man, and Shao Shi was changed; He died in Xian Tong for six years (865) and gave it to the Prince, who was eighty-eight.
Liu Gongquan was successful in his official career, but at the age of 82, he was a little slow to respond because of his old age and weakness. When he was honored, he accidentally made a mistake and was impeached by Yushi. As a result, he was fined a season's salary. Emperors of all dynasties loved his calligraphy and his poetic talent, and even his suggestions were willing to accept. Liu's life, except for a little time as an official outside, is basically in the capital, in the palace, beside the emperor. Throughout his life, he has been writing for the royal family, for ministers and for relatives and friends. Liu Gongquan is quite like a canary in a forbidden cage. Such a life makes him lack magnificent bearing, broad vision and vast source of life. Yan Ti has been changing from monument to monument, but Liu Ti has changed less after its maturity. Yan Zhenqing is like a roaring torrent, but Liu Gongquan is like a cave water flowing in deep mountains and forests. These are two different life sentiments.
2. Noble character accomplishment
Liu Gongquan was taught about "Virtue" in Family Instructions of Liu Family since childhood, so he took virtue as his root and "learned the classics" all his life. He was Confucian in life and calligraphy, and Liu Gongquan's "pen admonition" became a kind of "model" for later scholars:
Mu Zong was a recluse, and asked what the public pen was good for, saying, "Use a pen in your heart, and your heart is regular and your pen is correct." You can change your capacity and know your pen's advice. (Book of the Old Tang Dynasty)
Mu Zong was lazy in political affairs, and Liu Gongquan used books as a metaphor for political affairs, thus subtly remonstrating. From then on, the theory of "the heart is right and the pen is right" has been spread to future generations. This can be seen from Liu Gongquan's behavior of daring to speak out or politely admonish when "the book is forbidden".
Liu Gongquan's performance of calligraphy in front of emperors and courtiers is another aspect of his life of "serving books". His poetic talent and literary talent made the emperor "cherish it".
Nevertheless, Liu Gongquan's mind is not partial to this end. External glory can't dispel inner anguish. He is "well versed in Confucian classics, especially in Poems, Books, Zuo's Spring and Autumn Annals, Guoyu and Zhuang Zhou. Every time he interprets a meaning, he must say hundreds of words" (New Tang Book). It is worth noting here that while studying Confucianism, he also studied Zhuangzi, and it was very subtle. At the same time, Liu Gongquan absorbed the nourishment of the soul from Confucianism, Buddhism and Taoism, seeking complementarity and balance, and seeking some detachment. He has a lot of contact with Buddhism and Taoism, and has a variety of calligraphy creations. He wrote the Diamond Sutra many times, but now he only sees Dunhuang rubbings, but there are many people who recorded the Diamond Sutra in Liu Shu. In addition, there are Preface to Yinfu Sutra, Jing Jing, Du Ren Jing and so on. He wrote many inscriptions and tower inscriptions of monks in the Tang Dynasty, and his "The Mysterious Tower inscription of Da Da Master" is the most famous one. Liu Yu-fo Temple also has many books and monuments, and the famous ones, such as "Hui Yuan Guan Zhong Lou Ming" and "Fu Torinji Monument", are outstanding among them. Liu Gongquan has both Buddhism and Taoism to comfort the soul, so he is quite detached in the rolling world of mortals. He even disdains money. He writes monuments to people, earning huge income every year. Domestic slaves Seagull and Long 'an often steal their money and objects, and he takes them lightly.
In addition, Liu Gongquan is also "aware of temperament", but "difficult to play music". As the saying goes, "It is arrogant to hear music." (Book of the Old Tang Dynasty) Liu Gongquan has many aspects of knowledge and accomplishment, so the calligraphy art nourished by his mind is also swaying. Its fortitude and integrity, as well as its extraordinary Buddhist and Taoist demeanor, are all cast in the character of Liu Shu.
Liu Ti Road
In front of Liu Gongquan, there have been many famous artists for a long time. How to surpass our predecessors and create a new style of calligraphy in the new historical time and space is a severe challenge for Liu Gongquan. He didn't flinch, but with decades of tireless tempering, he was widely cast, and finally created a "Liu Ti" with a new theory, which took on a new look in the middle and late Tang Dynasty.
1. A trek to the top
Liu Gongquan's success in calligraphy is by no means achieved overnight, and his history can be roughly scanned in four stages (this only describes his regular script, and for the cursive script, see the section on Liu Shu Liu Guan).
(1) Early stage: exhausted the horizon.
This period is from twenties to sixties. Song Zhao Mingcheng's "Jin Shi Lu" contains: In the seventeenth year of Zhenyuan (81), when Liu Gongquan was twenty-four years old, he had written the tablet "Hedong Festival Li Shuo Tablet"; This monument was written by Zheng Fei, and the original stone was lost in Luoyang, but it may be imagined that it is a book of young glory. In the fifteenth year of Yuanhe, at the age of forty-three, Liu Shu wrote "Zuo Changshi Xue Ping Monument"; In the fourth year of Changqing (824), at the age of 47, he wrote Da Jue Zen Master Ta Ming and so on. Although these books have disappeared, we can see that his calligraphy skills in his twenties have been valued by the society, otherwise they will not be favored by these powerful people. Liu's works before the age of 5 are only available today.