Analysis of Calligraphy and Painting Art:

Abstract

The Tang Dynasty was a glorious period for the development of calligraphy art, and many calligraphers and classic works appeared. Wang Xizhi and Yan Zhenqing are the representatives of calligraphy in the Tang Dynasty. Their calligraphy art is very creative and has distinctive characteristics of the times, which is a typical representative of the cultural and artistic spirit in the Tang Dynasty.

Keywords Wang Xizhi and Yan Zhenqing's artistic characteristics

Speaking of Wang Xizhi and Yan Zhenqing, two calligraphy masters, we have to start with regular script, because their influence on regular script is an important link in the development of regular script. Regular script is one of the main calligraphy styles of Chinese calligraphy, also known as "modern script", "real script", "regular script" and "block script". Because of its square shape, it is named as a model. It came into being at the end of Han Dynasty and prevailed in Wei, Jin, Southern and Northern Dynasties, and the Tang Dynasty was the golden age of regular script. Regular script is gradually degenerated from official script through long-term development and evolution. The characteristics of regular script, on the whole, regular script is rectangular, the structure is closer than official script, and the pen is also very rich and delicate. Writing behavior is also more flexible and convenient than official script. Since the establishment of regular script, it has replaced the orthodox position of official script. After long-term trial, it has been proved that it is a kind of script with good combination of practicality and artistry. For thousands of years, it has been the official font adopted by the government, and it has also become a big one in the history of calligraphy.

Wang Xizhi, the originator of Wang School's calligraphy, is widely circulated by later generations for his unique calligraphy style. We should know that many of his masterpieces handed down from generation to generation, such as Huang Tingjing, Le Yi Lun, Cao E Bei, Dong Fangshuo Hua Zan and so on, are in small letters.

The main features of Wang Xizhi's calligraphy are peace and naturalness, tactful and subtle brushwork, graceful and graceful, and later generations commented that floating like a floating cloud is as correct as a dragon. Wang Xizhi's calligraphy is exquisite and beautiful, which is extremely beautiful to watch. In a word, he introduced Chinese character writing from practicality to a realm of paying attention to techniques and interests, which marked that calligraphers not only discovered the beauty of calligraphy, but also expressed it. Wang Xizhi's greatest achievement is to change the simple calligraphy style of Han and Wei Dynasties into exquisite and beautiful calligraphy style, and to create a precedent for elegant and beautiful calligraphy. A running script copybook, Preface to Lanting, has been praised as the best running script in the world by the calligraphy circle, and has been dumped by countless book learners for thousands of years. "Preface to the Lanting Pavilion" has 324 words, each of which has a different posture, turns round and natural, like flowing water, elegant and elegant, with delicate bones, beautiful stippling, alternating density and white cloth, and contains extremely rich artistic beauty within the scale. Regardless of horizontal, vertical, point, skimming, hooking, folding and pressing, it can be said that the pen is extremely wonderful. Xiao Yan of the Southern Dynasty said in the "Comments on the Advantages and Disadvantages of Ancient and Modern Scholars" that "Wang Xizhi's calligraphy is full of vigor, such as a dragon jumping into the sky and a tiger lying in a phoenix, so it has been treasured for generations and always thought it was a training. Wang Xianzhi's books are unparalleled, and no one can draw them. For example, all the teenagers in Heshuo are full of joy, and they are unbearable. " Undoubtedly, Wang Xizhi's calligraphy fully embodies the beauty and value of calligraphy.

Yan Zhenqing's regular script can be roughly divided into three stages of development. Many Pagodas Sensing Monument and Dong Fangshuo Painting Collection are his early works. Its characteristics are: rigorous and clear-cut, Fiona Fang has both, a little sense of propriety, and the straight drawing of characters takes the opposite trend. "The Story of Xianyu's Leaving the Pile" and "The Temple Monument for Guo Jingzhi of Taibao" are masterpieces in the mid-term, which are characterized by: taking more circles with pens, drawing thick and heavy vertically, and holding back alternately. Yan Qinli Monument, Ma Gu Xian Tan Ji (see Figure 2-38), Yan Weizhen's Family Temple Monument and Li Xuanjing Monument are his later works, which are characterized by fine horizontal painting, heavy vertical painting, rich and broad words and calm and square.

Generally speaking, the greatest feature of Yan Zhenqing's calligraphy art is its innovative spirit. His works are not only numerous, but also varied and unique. He inherited his predecessors and was good at innovation. The predecessors who took the law were able to change the law and bring forth the new. "The ancient law is in the new idea, and the new idea is outside the ancient meaning." First of all, in terms of brushwork, Yan Zhenqing changed the characteristics of Wang calligraphers in the early Tang Dynasty, which focused on finger movement, light and beautiful style, and won by being thin and hard. Instead, he increased the use of wrist force, highlighted a "tendon" character, and showed the beauty of "strength" in calligraphy art, which made Yan characters have an artificial relief artistic effect and quite distinctive. Secondly, in terms of structure, Yan Zhenqing changed the tendency that most calligraphers of Wang School were tight on the left and comfortable on the right, low on the left and high on the right, slightly hunched on the right shoulder, slightly zigzag, and free and easy. In the composition layout, the size is uneven, the line spacing is narrowed, and the whole layout is full and dense, which is different from Wang's calligraphy with small characters and wide lines, and has a sense of generosity and silence.

Another feature of Yan Zhenqing's calligraphy is its strong spirit of the times. It all comes from the heart, and strong thoughts and feelings are injected into the pen and ink. Yan Shu's majestic and magnificent features represent the prosperity of the Li and Tang Dynasties.

References:

[1] Yang Shoujing, a scholar, said [a book]. Beijing: Cultural Relics Publishing House

[2] Ling Yunchao, China's calligraphy for three thousand years [a book]. Nanjing: Nanjing University Press

[3] Zhu Changwen, a continuation of the book [a text]. Quoted from selected books of calligraphy papers in past dynasties [a book]