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The Tang Dynasty created a highly prosperous regular script art at the same time, but also set up an unattainable model for future generations, so that the regular script after the Tang Dynasty was gradually bound by the law, whether it is the Yuan Dynasty "retro" banner raised, the rise of the Ming Dynasty Wumen calligraphy school, or the development of the middle and late Qing Dynasty and the first period of stele and post science, it is difficult to reach the height of the Tang Kai.
After the fall of the Tang Dynasty, the great unification of the regime was destroyed, and there were more than a dozen separatist regimes, known as the "Five Dynasties and Ten Kingdoms" in history, and this chaotic situation lasted for more than 50 years. During this period, although calligraphy inherited the remnants of the late Tang Dynasty, due to the chaos of war, it formed a general trend of decline and decline. Five generations of calligraphers first recommended the Yang Ning style, but unfortunately it has not been handed down in regular script, and the regular script that can be seen today is mainly written scriptures, epitaphs and mourning books. For example, the Book of Mourning of Wang Jian (918) in the former Shu and the Myoho-renge-kyo (956) in the Later Zhou Dynasty are almost the same as the style of writing in the late Tang Dynasty.
Compared with the Tang Dynasty, the main achievement of calligraphy in the Song Dynasty lies in the cursive calligraphy, in the Song Dynasty four families, especially Su Shi, Huang Tingjian, Mi Fu three led by the "Shangyi calligraphy" for later generations praised. And only Cai Xiang's family inherited the remnants of Tang Kai, and they are still diligently pursuing the regular script of "Shangfa", although their skills are profound, but they have no new look. Looking at the two Song Dynasty, there are not many calligraphers who are famous in regular script, and the representative figures are Cai Xiang, Su Shi, Zhao Ji, Zhang Jizhi and so on.
Cai Xiang (1012-1067), known as Junmo, was a native of Xinghua Xianyou (now Fujian). Jingkai, line, grass three-body, the book of the Jin and Tang Dynasties, its regular script is mainly taken from the law Yan Zhenqing. His 42-year-old book "Xie Ci Yushu Poems" fully embodies the two characteristics of Cai Shu's fine and vigorous, the strokes are clear and healthy, the breath is leisurely, the penmanship is close to Yu Shinan, and there is the temperament of Lu Gong, which can be called Cai Xiangkaishu's representative work. Its big characters are typical of Yan Zhenqing, such as "The Story of Wan'an Bridge", the style of writing is very similar to Lu Gong, dignified and steady, and the pen is heavy, but it lacks a little change.
Su Shi (1037-1101), the name Zizhan, the name Dongpo layman, Meishan (now Sichuan), Su Xun's second son. His book takes the two kings of the law, Chu Suiliang, Li Yong, Xu Hao, Yan Zhenqing, Liu Gongquan, and Yang Ningshi, and integrates the strengths of each family and can be self-contained.
Su Shi attaches great importance to Yan Zhenqing, so his regular script Zongyan, his big letters, such as "The Story of the Drunkard Pavilion", "The Story of the Fengle Pavilion", etc., except for the slightly flattened glyphs, the theology is indeed similar to Yan Zhenqing's "Oriental Shuo Painting Praise".
Zhao Ji (1082-1135), that is, Huizong of the Song Dynasty, was good at calligraphy and painting, and the calligraphy sects Xue Ji, Huang Tingjian, and Chu Suiliang were all masters, who created their own "thin gold body", thin and hard, and their muscles were exposed. This body is extremely thin, the spirit is exposed, it is not easy to cover up the ugliness, and it is difficult to grasp without strong pen power. However, some strokes are too stylized, lacking rich variations, and lacking connotation. At the age of 23, he wrote the "Thousand Characters in Regular Script", in addition to the slightly weaker pen power, the characteristics of the thin gold script have been basically established, the middle palace is slightly tighter and the four dimensions are open, the glyph is slightly longer, and the strength is strong and elegant, which also reflects his creativity in calligraphy that is higher than ordinary people. However, the body of this book should be small rather than large, and some of his inscriptions or short stories are more vibrant.
Zhang Jizhi (1186-1266), known as Wenfu, was a native of Liyang (now Hexian County, Anhui). The official went to Sinong Temple, and gave the special secretary to the pavilion. Zhang is the beginning of the calligraphy from the uncle Zhang Xiaoxiang, after learning Mi Fu, and participate in Ouyang Xun, Chu Suiliang's penmanship, especially good at writing big characters, the book smells the world, the golden people You Bao Qi Hanmo. The contrast between the thickness of his regular script strokes is strong, the beginning and end of the pen are clean and neat, and the style is evenly rounded and steep. Most of the regular scripts are written scriptures, such as the "Vajra Prajnaparamita Sutra" and "Buddha's Relic Sutra". The pen is solid and handsome, the dot painting takes care of the life, the knot is handsome and even, and its thickness changes, telescopic and stretching are all made with the shape, without losing the law, and has a strong artistic appeal, which is rare in the Southern Song Dynasty.