Yan Zhenqing was studious and literate since childhood. His calligraphy was influenced by the Yin family and the ancestral family, and at the same time was guided by Zhang Xu. He also widely absorbed the nutrition of famous calligraphers such as Cai Yong, Wang Xizhi, Wang Xianzhi and Chu Suiliang. After a comprehensive study, he created an outstanding and magnificent unique style, called Yan Ti, and became a great calligrapher representing the Tang Dynasty. His calligraphy initiated the development history of calligraphy in China. Yan Zhenqing's regular script has a solemn and majestic style. His pen is horizontal and light, vertical and heavy, and his brushwork is vigorous. Structurally, it is square and dense. The vertical pen is slightly curved in the middle, soft and elastic in the middle, with heavy strokes and strong centrality, 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 calligrapher later 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 emphasizes strength and strength, so it is also called "Yan Gu". Yan Zhenqing's cursive script is simple and vigorous, with ups and downs. His pen is magnificent, ingenious and natural, with the flavor of seal script, but the cursive script still does not lose its Wei and Jin demeanor. In calligraphy theory, Yan Zhenqing has a book called Twelve Meanings of Zhang Changshi's Writing Style.
There are many calligraphy works handed down by Yan Zhenqing, including famous ink, regular script such as Zhushantang couplet poems and advertisement posts; The cursive script includes Ji Ming's "Sacrifice to a Nephew", Liu Zhong's "Tie" and "Huzhou Tie". Among them, there are still different opinions on the authenticity of other works except Ji Ming's Sacrifice to a Nephew, but all of them are circulated in ink. Ji Ming's manuscript, a memorial of my nephew, is a draft cultural 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 many monuments in his life, which have been passed down to this day: many pagodas, dignified and dense in structure, beautiful and charming; "Dong Fangshuo painted a monument to praise" with a strong Qingyuan style; "The Inscription of the Golden King" is even more dignified and vigorous; "Zang Huaike Monument" is magnificent and vigorous; "Over the cup" is graceful and smooth; Ma Gu Xian Tan Ji is vigorous and solemn, with exquisite structure and full of charm. "Da Tang Fu", carved on a cliff, is the largest regular script in Yan Zhenqing, and its calligraphy is square and smooth, showing no bones and muscles. Song Dynasty Monument, also known as Song Guangping Monument, is open and full of vitality. "Eight official pavilions report good deeds", with strict weather; Yuan Jie Bei is vigorous and far-reaching; The book of manna words focuses on harmony; Li Bei's calligraphy is vigorous, but the strokes are fine, which is different from other tablets. Yan tablet was unearthed in 1922. Its calligraphy and painting are as good as new, which can best convey the original style and spirit among the inscriptions in Yan Zhenqing. His calligraphy is bold and neat, which is the masterpiece of his later years. Yan's Temple Monument is rich in calligraphy, which is also his masterpiece in his later years.
There are many calligraphy seal cutting in Yan Zhenqing, and most of the articles collected in the past dynasties include Yan Zhenqing's works. The single post includes "Competing for Seats", "Entrusting Ambassadors", "Poem of Farewell to General Pei", "The Small Print of the Fairy Altar" and "Farewell to Liu Taichong". Among them, "competing 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 a casual masterpiece. Mi Fei thinks that Yan Zhenqing's calligraphy is the first because of the flavor of seal script. There are 45 kinds of Yan Zhenqing's calligraphy works, and Song Tuo's unique book is kept in Zhejiang Museum.
Wang Xizhi's life
Wang Xizhi (about 32 1-379) was born in Linyi, Eastern Jin Dynasty. His family is one of the few aristocratic men in the Jin Dynasty. His grandfather is a businessman. His father, Wang Kuang, is the prefect of Huainan. He once advocated that Jinshi crossed the river and Jiangzuo established the Eastern Jin Dynasty. Wang Dao, Wang Xizhi's uncle, is world-famous and 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 some time in the Eastern Jin Dynasty.
Because of this background, Wang Xizhi became a doctor as soon as he became an official, then joined the army for Yu Liang, and then transferred to Ningyuan General and Jiangzhou Secretariat, and finally achieved the goal of being a general of the right army and collecting civil history. So people also call him "Wang Youjun".
Wang Xizhi is frank and informal, and has never admired Li Rong since he was a child. Shi Shuo Xin Yu contains Wang Xizhi's beautiful talk of "lying on the couch"
Chi Jian, another scholar in the Jin Dynasty, wanted to marry the Wangs, so he sent his protege to the Wangs to choose a husband. Wang Dao had his sons and nephews observed one by one under the east wing. The master went back and reported that all the young people under the king were well. They heard that the guests were sent by the Xi family to choose a son-in-law, and they all looked very reserved. Only one person ate 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, I found out that Wang Xizhi was the one who ate on an empty stomach, so I married his daughter to him.
Judging from this anecdote, Wang Xizhi was more open-minded from an early age and seldom cared about small things. Perhaps this is one of the reasons why his calligraphy is vigorous and open, free and easy, and elegant. Because of this allusion, people later took "Dongchuangtan" and "Dongchuangtan" as the laudatory names of son-in-law, or called other people's son-in-law "Lingtan".
Because of Wang Xizhi's rare reputation, court officials and ministers couldn't put down his talents. He was called to be a middle school teaching assistant and a senior minister many times, but he refused to accept his resignation. He doesn't like being an official, but prefers quiet. During his tenure, he once expressed important and practical political views to the prime ministers Xie An and Yin Hao who participated in state affairs. He also opened a warehouse for the hungry. All these show that he is honest and does not admire Li Rong's character.
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 studied the calligraphy of Li Si, Cao, Zhang Zhi, Cai Yong, Liang You and other predecessors. This makes his calligraphy integrate the strengths of various schools and become a family of his own. In addition, many people in his family are good at calligraphy, and his parents Wang Dao, Wang Kuang and Wang Yi are all masters, which is also of great significance to his calligraphy study.
Wang Xizhi has a deep understanding of original works, cursive script and calligraphy. His real 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 like dragons"; "Yue Long heaven, the tiger lies in the phoenix pavilion".
There are many woodcuts in Wang Xizhi's calligraphy, such as On Yan Le, Huang Tingjing and Ode to Painting in Dong Fangshuo, 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, menstruation sticks and early moon sticks. Although these Mo Bao are replicas of the Tang Dynasty, they are all rare treasures. His running script "Fast Snow Sunny Post" has only 24 words, and it was listed as the first of the "three wedding invitations" by Emperor Qianlong of Qing Dynasty.
Preface to Lanting is Wang Xizhi's most famous masterpiece. From the literary point of view, it is a wonderful article with beautiful words and broad feelings. From the point of view of calligraphy, it is called the crown of Fa Tie and has been carefully studied by famous artists of all ages.
Wang Xizhi is also good at painting, and he is one of the earliest calligraphers who are also good at painting. His wife Xi and his seven sons are good at calligraphy. They are a world-famous calligraphy family, which is also rare in the ancient history of China. Especially his youngest son, Wang Xianzhi, inherited his father's knowledge and further created a unique world. His calligraphy and painting are beautiful and wonderful. He is even as famous as his father and is called "Two Kings".
1. The career of the Royal Librarian
In 778 AD, in the thirteenth year of Dali, Tang Daizong, Liu Gongquan was born in Jingzhao Huayuan (now Yaoxian County, Shaanxi Province). His ancestor Liu, a scholar in Taizhou of Tang Dynasty, Cao joined the army, his father was a Danzhou secretariat, and his brother was Liu Gongzhuo, a famous minister in Tang Dynasty.
In the third year of Xian Zongyuan (808), Liu Gongquan, 3 1 year-old, was a Jinshi, and Hongci was admitted to the Jinshi that year. From then on, Liu Gongquan began a long career and even lived in seven dynasties: Xianzong, Mu Zong, Jing Zong, Wenzong, Wuzong, Xuanzong and Zong Yi.
During the reign of Xian Zong, Liu Gongquan was the secretary of the provincial school. "Li Tingzhen Zhou Xia has become a powerful secretary" (Old Tang Book). Li Ting and Liu have this friendship, so Liu also set up a monument for his book in his later years.
Mu Zong acceded to the throne, Liu Gongquan into the play. Mu Zong summoned Liu Gongquan and said, "I saw your handwriting in the Buddhist temple and thought about it for a long time." On this day, I paid homage to the right gleaning, filled the post of Hanlin bachelor, moved to the right to fill the vacancy, and sealed Yuan Wailang. Since then, he has been working in Mu Zong, Jing Zong and Wenzong Dynasty. The emperor's lucky and rich life did not bring joy to Liu Gongquan. However, there is an inescapable depression 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 spirit of making contributions is always beating in the chest. The status of the emperor's attendants is only equal to "work desire". So, his brother Liu Gongzhuo wrote a letter to Li Zongqin, the prime minister, saying, "My brother made painstaking remarks. He served the books first to see the use, and was quite grateful for his work. He was really ashamed and begged to change his rank. " So he changed the right doctor, and changed the Seal Department, the Ministry of War Jiro, and the Bachelor's Hong Wen Pavilion.
Tang Wenzong loved Liu Gongquan's calligraphy very much. He was also called to be a calligrapher, tried to persuade the doctor, and later turned to be a calligrapher in China, becoming a bachelor of calligraphy in Hanlin. Three years later, he was transferred to assistant minister of industry, and he transferred to bachelor's degree.
Wu Zongchao resigned from his post and authorized him to ride a regular waiter. Prime Minister Cui Xun regards it as a bachelor's degree and a court judge.
When Xuanzong proclaimed himself emperor, Zuo granted the eldest son the post, changed the guest, moved Dr. Ziguanglu, went to Zhu State, and was the founding father of Hedong County. When he returned to Zuochang, Guo Zi offered wine and went over the history of the Ministry of Industry.
During the Zong Yi period, in the early years of Xian Tong, Liu Gongquan was changed to Prince Shaofu and Shao Shi; He died in Xian Tong for six years (865) and was given to the Prince at the age of eighty-eight.
Liu Gongquan had a successful career, but at the age of eighty-two, his reaction was a little slow because of his age. When he was decorated, 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 accepted his suggestions. Liu's life, except for a little time when he was an official outside, was basically in the capital, in the palace and beside the emperor. Throughout his life, he has been writing for the royal family, ministers and relatives and friends. Liu Gongquan is like a canary in a forbidden cage. This kind of life makes him lack of magnanimity, broad vision and broad sources of life. Yan style has been changing from monument to monument, and Liu style has become less after maturity. Yan Zhenqing is like a roaring torrent, but Liu Gongquan is like a cave water flowing in the mountains and forests. These are two different perceptions of life.
2. Noble character cultivation
Liu Gongquan was taught about "morality" in Liu's family instructions since childhood, so he took morality as the root and "studied classics" all his life. He has a Confucian style in life and calligraphy, and Liu Gongquan's "Pen Jian" has become a "model" for later scholars.
Mu Zong is a reclusive politician. He asked what was the use of the pen, and the pen told him, "Use your pen in your heart, and your heart is always there." You can change your capacity and know the advice of your pen. (Old Tang Book)
Mu Zong was lazy in politics, and Liu Gongquan used books as a metaphor for politics and made clever suggestions. From then on, the theory of "mind is right and pen is right" was passed down to later generations. This can be seen from Liu Gongquan's daring to speak out or gently admonish when he banned books.
Liu Gongquan's performance of calligraphy in front of emperors and courtiers is the other side of his life of "serving books". His poetic talent and literary talent made the emperor "cherish it as gold".
Despite this, Liu Gongquan's mind is not biased towards this. External glory can't dispel inner anguish. He is proficient in Confucian classics, especially poems, books, Zuo's Spring and Autumn Annals, Mandarin and Zhuang Zhou. Every time he explains a meaning, he has to say hundreds of words (New Tang Book). It is worth noting here that he studied Zhuangzi as well as Confucianism, and it was very subtle. At the same time, Liu Gongquan absorbed the nourishment of the soul from Confucianism, Buddhism and Taoism, sought complementarity and balance, and sought some detachment. He has a lot of contact with Buddhism and Taoism, and his calligraphy creation is varied. He wrote the Diamond Sutra many times, but now he only sees Dunhuang rubbings, but many people in Liushu recorded the Diamond Sutra. In addition, there are Jing Xu, The Book of Songs and Du Fu. He wrote many inscriptions and pagodas of monks in the Tang Dynasty, the most famous of which is his Mysterious Pagodas in exorcist. There are also many books and historical sites in Liuyu-Buddhist Temple, among which the famous ones, such as "Hui Yuan Guanzhong Louming" and "Fortoringi Monument" are outstanding. Liu Gongquan has both Buddhism and Taoism to comfort his soul, so he is quite detached in the rolling world of mortals. He even disdains money. He writes monuments to people and earns a lot of money every year. Domestic slaves seagull and Long An often steal their money and things, and he takes them lightly.
In addition, Liu Gongquan is also "aware of temperament", but "difficult to play music", as the saying goes: "I am proud of listening to music." Liu Gongquan has a lot of knowledge and cultivation, 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 Liu Shu's character.
Liutizhi road
In front of Liu Gongquan, there are many famous artists. How to surpass predecessors and create a new calligraphy style in the new historical time and space is a severe challenge for Liu Gongquan. He didn't flinch, but after decades of unremitting efforts, he finally created a "Liu style" with a brand-new theory, which took on a new look in the middle and late Tang Dynasty.
1. Summit trip
Liu Gongquan's success in calligraphy is by no means achieved overnight. His history can be roughly scanned into four stages (here, only his regular script is described, and the cursive script is shown in the Guan section).
(a) Early stage: looking forward to the end of the world.
This period is from twenty to sixty. In the Song Dynasty, Zhao Mingcheng's "Jin Shi Lu" contained: In the seventeenth year of Zhenyuan (80 1), when Liu Gongquan was twenty-four, he had written the tablet "Hedong Sacrifice to Li Shuo"; This monument was written by Zheng Fei. The original stone was lost in Luoyang, but it is a young book of glory. In the fifteenth year of Yuanhe, at the age of 43, 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 Taming and so on. Although these books have disappeared, it can be seen that his calligraphy skills in his twenties are still valued by the society, otherwise it will not be favored by these dignitaries. Before the age of 50, Liu's only works were Postscript to the Thirteen Lines of Luo Shenfu and Engraving the Diamond Sutra (Dunhuang edition) (see the introduction below). Thus, he learned the calligraphy styles of Hammer Cave and Wang Xizhi, and imitated the brushwork of Yu Shinan, Ou Yangxun, Chu Suiliang and Lu Jianzhi.
According to Jin Shi Lu, Liu Gongquan's works after the age of 50 are: Nirvana and Monk Monument (5 1 year old), Li Sheng Monument (52 years old), Wang Bo Monument (53 years old), Epitaph of Director Wei Wenke (54 years old) and Belling in Taiqing Palace. After Liu was fifty years old, there were only Li Sheng Monument, Ming of Bell Tower in Hui Yuan Pavilion of Datang and Mo Li Postscript, which showed the general situation of Liu Jieshu. Although he can see it and enter the country, it has not yet succeeded. Kang Youwei said: "Liu Cheng hangs the tablet of King Pingxi to learn the Yi Que Stone Temple without its thick spirit, and his physique has not reached. At that time, Gong Liu was over forty years old, and the book was like this. It is not easy to know the ancient masters. Later generations may call this monument, but those who have not solved the book. " If Liu Gongquan can't live to be a hundred years old, he won't become a giant in the book world before he is 60, although he has a good reputation.
(2) heyday: the great achievements of Liu Ti.
Ten years after the age of 60, Liu Shu entered its heyday, just like a sunny day. There are nearly twenty monuments in the literature of this period, such as Su Feng Monument, Cui E Monument in Jinbulang, Jiao Jian, Su Yuan Monument in Wei Jianjun, Huainan and Phosphorus Monument in Wangfu, Yiyang County. Among them, the mysterious pagoda monument and the Shence military monument are typical of Liu Ti, with the most prominent reputation.
By the time of Mysterious Tower Monument and Shence Army Monument, Liu Ti had achieved great success. In the mid-Tang Dynasty, a fat, deep note with a pen, crisp, quick and healthy, more important than the square, supported by the circle, showing thin and hard lines between crouching and spreading, called "six valleys" (described later). Between strokes, each has its own characteristics. The horizontal elders are thin and stretched, and the horizontal ones are short and strong. Vertical painting is thicker than horizontal painting, and it is the main pen, seeking its change; Its skimming, the elderly are light, while the short ones are heavy; Its stress must be heavy and show vigorous strength; Its hook, kick and pick must stop, and then quickly return to the front. Liu Ti's words are similar to those in Yan Zhenqing's book, balanced left and right, but long and powerful, with dense in the middle and sparse outside. On the whole, Liu Ti's style of writing is as follows: "Yuanmen ranks high, and hygiene is new" (Cen Zongdan's book review): "The calligrapher says that he is afraid of avoiding the easy and the eagle is hungry (Wei Biao), which is not enough to describe his urgency" (Wang Shizhen's Red North Talk). Liu's body is strict and his face is fat again. In order to be fresh, to be strong and straight, to be thin and hard, he learned the spirit. In the late Tang Dynasty, people appreciated Liu Ti with a new calligraphy style and its charming beauty.
(3) Mid-term: the charm of sunset.
Ten years after the age of seventy, Liu Gongquan entered a new development period. At this stage, there are many books and monuments, that is, according to Jin Shi Lu, there are 70-year-old Shang Yu Ji, Shannan West Road Our Mission Monument, etc., 7 1 year-old books include Niu Sen Rubei, Prince Taifu Liu Mianbei, and 73-year-old books include Puguang Wang Temple Monument, etc. Today, I only saw the monument of Prince Taifu Liu Mian, the monument of Xianci and the monument of Yu.
As can be seen from the above monuments, Liu Gongquan seems to want to create a new realm after the Mysterious Tower Monument and the Shence Army Monument vividly reveal Liu's style. I want to use simple infiltration brushwork, simple infiltration structure and elegant infiltration charm. Therefore, in the middle period, the pen cast in steel was cut, and the structure of hidden ribs and exposed bones was tightened and steep. Yang Shoujing had a deep understanding of this in the Qing Dynasty. He said, "Gong Wei Temple Monument, Gong Wei Temple Monument, Liu Mian and Su Feng are all humble after all." ("Learn from You") He even thinks that "the' high' monument is particularly perfect". Although Monument to Man (6 1 year old) and Monument to Su Feng (60 years old) were written before the age of 70, the ideological roots of the changes after the age of 70 have long been lurking there. However, after decades of tempering, Liu Gongquan finally failed to take on a new look. During this period, we only saw the charm of Liu Shu in the sunset in Ran Ran.
(d) Evening: the sunset glow in Liu Shu.
In the eight years after the age of eighty, Liu Gongquan entered the later period of his life and calligraphy creation. He still nourishes life and calligraphy: life moves forward in the creation of calligraphy, and calligraphy adds luster to life. At the age of eighty-seven, he also had a book, Prince Wei Bei of Taibao (contained in Bao Bian). From his masterpiece Fudonglin Monument, we can see that he reflected the last sunset glow in his life between the lines of the monument. That kind of elegant demeanour is no longer the vibrant brilliance like the morning sun, nor the scorching sun like the midday sun, but the brilliant sunset; The benefits of a stroke are transferred into it, and the charm is close to nature. The theme and affinity of the whole article are caused by the master's mind and old pen in his later years. Liu Gongquan, like an awakened person, went to the depths of Qingshan, climbed to the top of the mountain, and finally disappeared in Alishan, carving the soul of calligraphy into the peak of calligraphy.
Standing on the shoulders of giants
Liu Gongquan's crown of success is not only woven by hard thorns, but also picked on the shoulders of giants. He is good at absorbing the wisdom and achievements of all calligraphers and turning them into his own calligraphers.
(1) Quoted from Zhong Shu and Wang Shu. Liu Gongquan studied hammer calligraphy. As can be seen in the Diamond Sutra, Liu Xie has pointed it out. Tang people know more about the "two kings", but Liu Gongquan can learn the king's books in a way that looks like a god. Ceng Yun and Wang Shizhen: Liu Gongquan "wrote a book and post" Preface to Lanting Collection ".Although he went far to Yin Shan Room, he should be able to learn from the gods and leave a trail." However, Dong Qichang is the closest friend. He saw from Liu Gongquan's book "Learning from the King" that his form was separated from the king, and that God and the king were United. Realizing that the pen was weak, he turned from Liu Fa to the right army (Learning from the King in Books). In fact, from Liu Gongquan's cursive script, we can see that some works have both the blood, charm and charm of the king and the appearance of the king's book. Learning from Wang Shu's calligraphy is one of the sources of Liu Shusheng's life.
② From Europe and Chu. Liu Shu is translated from the works of Ou Yangxun and Chu Suiliang, and there are many critics. Mi Fei believes that Liu. Kang Youwei said: "Honesty is the change of Europe." Kang Youwei also thought it was a thin and hard school, and then Chu Suiliang and Liu Gongquan all belonged to this school (Yi). Liu Xizai thinks that Liu is closely related to Europe and Chu, that is, Yizhou Temple Monument is a collection of Liu Shucheng for later generations, but it is majestic and graceful, similar to Duke Chu's (artistic outline). Ou Shu's bones and muscles are exposed and his structure is cautious. Chu Shu's pen is flexible, smooth and beautiful, which gives Liu Gongquan useful enlightenment.
(3) From Yan Shu. Liu Shu benefited a lot from Yan Zhenqing's book. Sue: "Liu's book is beautiful, but it can create new ideas." ("Dongpo Inscription") Zhu Yun: "Building the law is beautiful, making it rich and rich, calling itself a family." (Continued Books Broken) In terms of specific books, some say that Mysterious Tower is the face of the Guo Temple (Liu Xizai Art Outline); Some people say that Lu Gong's Zang Huaike tablet is "the most open", and some people say that "Liu Jian suggested that learning beauty is the starting point" (Guo Shangxian's "Inscription on Building Pavilion"); Some strict Li stele "has the same structure as the family temple and is full of morality, so it is the originator of honesty" (Wang Shizhen's Yizhoushan People's Draft), and so on. Liu Xueyan mainly has four aspects:
The first is to learn strict statutes. Yan Zhenqing's regular script is well prepared in terms of brushwork and word formation, and Liu gained and lost on this basis, making it more complete. The second is to learn from his charming writing style and turn his charm into his own show. The third is to learn the combination of his character and books. Yan's personality is noble, Yan Shu's style is beautiful, and Liu Gongquan is also a typical example of the combination of book beauty and human beauty. Fourth, study the strict spirit of reform. Yan opened up a magnificent realm beyond the barriers of Wang Shu, not only on a par with Wang Xizhi, but also created his own calligraphy style for the prosperous Tang Dynasty and played the sound of the prosperous Tang Dynasty. Liu also changed it, creating the style of new books in Yuan Dynasty and later, and enriching the voice of the Tang Dynasty.
Of course, Liu Gongquan learned a lot. He not only learned from other calligraphers, but also drew nutrition from folk calligraphy (such as the North Monument). There are many examples, so I won't list them one by one.
In particular, Liu Gongquan's success lies in a group that learns from each other and makes up for each other's shortcomings. For example, Shen Chuanshi, who is ten years older than Liu Gongquan, and Pei Xiu, who is thirteen years younger than Liu Gongquan, are all calligraphers of the same type as Liu Gongquan: they are "fresh school" and "new school". Liu Gongquan's famous monument "Mysterious Pagoda" was written by Pei Xiu, and Pei Xiu's famous monument "Guifeng Dinghui Zen Master Monument" was sealed by Liu Gongquan. Pei's tablet, on the other hand, shows his influence: "His meticulous participation, skillful use of pen and dense knot are all in harmony with sincerity" (Yu Shi). Liu Gongquan's brother Liu Gongzhuo is also good at calligraphy, so it is reasonable to influence each other.
The transformation of Liu Gong's power into a giant requires not only wise heart, quality, quantity, degree, shape, spirit and rhyme, but also extraordinary skill and hard training, especially his own spirit and personality. This is why Liu Gongquan became Liu Gongquan.
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There are so many steles in Yan Zhenqing that it is enough to build a forest of steles, and the steles written by Liu Gongquan can also stand in a forest. However, one tablet of Emperor Yan is different, while the other tablet of Liu is the same. If viewed from the same angle, Yan Di has its differences and similarities, which is also the reason why it presents the overall style of Yan Di. On the other hand, if we observe the differences, then Liu Ti is different in the same. It's just that Liu Shu has more similarities than differences, which may be related to his writing inscriptions written by others, his rule-making and rigid mentality, and his narrow living space. But Liu Shu also has all kinds of elegance, diversity and beauty.
Book theory proposition
Liu Gongquan's famous book theory proposition is "people write correctly", which is known to almost everyone who studies books; The comments of "Yan Liu Jin Gu" are also widely known.
1. "The heart is right and the pen is right"
Liu Gongquan's euphemistic suggestion to Tang Muzong is "be honest with your heart". This famous saying can be understood from the following two aspects.
The first is to analyze the relationship between personality and calligraphy from the perspective of ethics.
Confucianism attaches great importance to ethics. In the cultural coordinates of Confucianism, calligraphy is regarded as a kind of "mind study". Liu Xizai's "Art Outline" said: "Therefore, books are also learned." This origin comes from the Han Dynasty. Yang Xiong's "Ask God through the Eyes" goes: "Words are also, and the heart is also; Books, heart paintings. Sound painting, gentlemen and villains see. Sound painter, gentlemen and villains are so emotional! " Yang Xiong believes that "books" communicate with the inner world. A gentleman can reveal beauty from this "heart painting" of a book, and a villain can also reveal his true colors in this "heart painting". During the Three Kingdoms period, Zhong You said in Calligraphy: "Handwriting is also bounded; Beauty is also a person. " Liu Gongquan enriched and developed this thought. His theory of "correcting the heart and writing correctly" links the relationship between personality, morality and calligraphy with new propositions, which is not only a portrayal of the great calligrapher in Tang Dynasty, but also a successful "pen remonstration" and has achieved certain results. This has aroused great interest and praise from later scholars. In the Song Dynasty, Su Shi wrote in Ceng Yun's poems: "Why is it that the family law is in a hurry, when you want to see sincerity?" ("Liu Er's nephew asks for a book") Zhao Yan said in the Yuan Dynasty: "You Jun once wrote" The Book of Changing Goose ",which is a fairy book with clear pronunciation and mellow voice. Seeing Liu Dezheng, the Millennium pen is still famous. " (The original text of "Hanging Regular Script in Tang Liucheng (Du)") and so on.
Not only that, but later generations also expounded this theory. In Ming Dynasty, Xiangmu formed the calligraphy order of "Zhengxin Zhengzi Zhengzi" from "Zhengxin Zhengzi", and thought that "Zhengxin" should be regarded as "sincerity", "knowledge" and "style". Then, through "faithfulness" to achieve "further study", calligraphy can also produce new ideas, wonderful meanings and strange meanings (see Elegant Words and Mind in Calligraphy). There is a "study of mind" in the history of philosophy. Both Song Lu Jiuyuan and Wang Ming Shouren regard "mind" as the origin of all things in the universe, and put forward "the learning of sage, the learning of mind and the mutual giving and receiving of Yao Shunyu". Liu Xizai in Qing Dynasty said, "Books are like. If you study, if you are talented, if you are ambitious, in short, you are like a person. " "Pen and ink, all by people's temperament. If you are a rational person, the first thing in the book. " ("Art Outline") These are closely related to "correct mind and correct pen".
"The meaning of heart and pen" emphasizes the calligrapher's character cultivation, and later generations often take character as one of the criteria for evaluating books. Su Shi once said: "Liu Zi is correct and the pen is correct. This is not only ironic, but also reasonable. Although the little people in the world are good at calligraphy, their facial expressions are always flattering and ungrateful, just like Zi Han's so-called axe thief. Hide the truth. However, if people still hate their books, they will know. " (Dongpo Inscription and Postscript) Therefore, Cai Jing, a traitor in the Song Dynasty, was excluded by calligraphers because of his despicable character. This proposition profoundly reveals the complex and subtle relationship between calligraphy and calligrapher's inner world from the perspective of creation, and is also the externalization and expression of calligrapher's personality in calligraphy. From this, we can also observe the calligrapher's mentality and make an appropriate evaluation of his works.
Secondly, analyze the calligraphy technique itself.
Liang Qing Shu Tong's "On the Book of Polonian and the Book of Kong Fu Ancient Yuan" said: "The heart is right and the pen is right. Most of the predecessors took Taoism as their solution, but the only brother did not. As long as you use a very soft wool to drop paper, you are not afraid of irregularity, careless control, superficial trance, and natural silence. "In fact, not only in Liang Dynasty, but as early as Song Dynasty, Jiang Kui said in the section of" Using a Pen "in Continued Book Spectrum that" the mind is right and the pen is right "and" the intention is before the pen, and the word is behind the heart "are all famous sayings. In Qing Dynasty, Zhou Xinglian wrote Ceng Yun in My View of Linchi: Liu Gongquan said that "the mind is right and the pen is right". The pen is straight and the front is easy to be straight, and the middle is sharp. He added: "The ancients said that the mind is constant and calm, and the calm is the wrist movement, and the wrist movement is the pen end. The pen end is filled with ink, and the ink injection is the heart coagulation, and the heart coagulation is self-cultivation, unintentional and full-hearted, and it is illegal and the whole law. This is a natural effort, which saves a lot of words and suggestions. Once and for all. "It is not unreasonable to comment on these technologies. But its importance is not as important as the "personality" theory.
2. Aspects of Yan Liu Jin Gu
The predecessors commented that Yan Zhenqing's ci was full of "sinews" and Liu Gongquan's ci was full of "bones", so it was called "Yan Liu Jin Gu". Song Fan Zhongyan entrusted Shi: "The pen to prolong life, Yan Gu."
The word "bone" means strong and magnificent. Mrs. Jin Wei's "Pen Map" said: "Those who are good at strength are skinny, and those who are not good at strength are fleshy; The skinny and fleshy one is called Jin Shu, and the fat and fleshy one is called Ink Pig. " There are many people who talk about "bone" in the history of calligraphy. Taking "a little like a falling stone" as an example, it refers to the power to unite the past movements. This is the expression of the artist's heart, but it is not nervous, but powerful and delicate. This is the so-called "bone". Zong Baihuayun, a modern aesthete, said: Bone is a powerful and prominent pen and ink, which exerts a kind of power from the inside. Although we don't talk about perspective, we can have a three-dimensional sense and produce a moving force for us.
The word "tendons and veins" has multiple meanings, either referring to the style of writing, or referring to the connection and strength of tendons and veins when writing a book. Tendon is also associated with meat, which is called "tendon". Yan and Liu Ye said that the remarkable characteristics of comparing them are: Yan Shu has many muscles, but he is not boneless, and Yan Zhenqing's book also emphasizes the power of bones; Liu Shu's bones are bare, but they are not meatless, but tend to be thin, and Liu Gongquan attaches great importance to bone method. The word "six valleys" can be understood as:
(1) Bone strength. Liu Gongquan is most obsessed with the embodiment of bone strength, carefully running against the trend, carefully protecting his head and hiding his tail, and concentrating his power on his lines. He strengthened his wrist and straightened his brushwork, such as "Tapping Sand" and "Yin Yinni". His brushwork is pressing, not pecking, in a tight vertical pen; Kick off, Chang Xun makes the front spear; Most of the turning points and pen changes are in Fang Bi.