"The Holy Order of the Wild Goose Pagoda", Chu Suiliang's book, established in the fourth year of Yonghui in the Tang Dynasty (652), is Chu Suiliang's most proud and meticulous work.
The style of this monument is elegant and beautiful, the dot painting is thin and stretched, fine and powerful, the structure is open, and it seems to have the rhyme of Han Li's legacy. Those who have always studied Chu have regarded this as a good model. "The Holy Order of the Wild Goose Pagoda" and "Master Meng's Tablet" complement each other, both of which are representative works in Chu Shu.
Although the dot painting form of "The Holy Order of the Wild Goose Pagoda" appears slender, it is also full and rich, light and fast.
As shown in the figure of "six", "empty", "in", "hazard" words are written, multi-sided front into the paper, adjusted the front down, pause the pen**, lively and smart, full and concise, without a sense of dryness and hardness.
And as in the picture, the words "Hua", "None", "Translation", and "Gui" are written in length and horizontally, reverse into the cutting pen, adjust to the center state and then carry out the pen, the end of the line is crisp and neat, and the middle section is arc up, which is elastic.
As shown in the figure of "God", "year", "ten", "royal" word vertical writing, into the paper to the right lightly cut the pen, the center of the astringent, the pen quickly, with the pen to lift the pen, at most use to one-third of the pen.
In the next lesson, we will give an example of the characteristics and structural characteristics of Chu Suiliang's "Sacred Order of the Wild Goose Pagoda", and through the careful understanding of the subtle differences between the characters, we can better grasp the essence of the characteristics of the calligraphy.