Chu Suiliang calligrapher Sui and Tang Dynasty, melted the Six Dynasties, took the Wei and Jin Dynasties, chased the Han Li, "pottery cast Vientiane, concealed the longs", self-name one. His style of writing is "vigorous and gentle, rich and beautiful", such as "jade appearance brocade" and "flower scattered golden screen", showing distinctive personality characteristics. "Tang Dynasty Book Review" praised: "Chu Suiliang's book, the words are golden, the lines are jade, the law is gentle, and the beauty is multifaceted." Zhang Huaijun's "Book Break" cloud: "Suiliang Zhenshu is very charming, if Yaotai is green and trivial, and the spring forest is reflected; The beauty Chanjuan seems to be better than Luo Qi; Lead Hua is about to make a promise, Ou and Yu thank you. ”
Chu Suiliang's regular script works, from the early "Yique Buddha Shrine Tablet" and "Master Meng's Tablet" are fair and broad, to the first appearance of the smart beauty of "Fang Xuanling Tablet", and then to the grace and vigor of "The Holy Order of the Wild Goose Pagoda", which is a sign of the maturity of his calligraphy art. "The Holy Order of the Wild Goose Pagoda" is compatible with the elegance and sloppiness of the right army, the simplicity and simplicity of the Han Li, the elegance and handsomeness of the calligraphy, and integrates the Ouyu brushwork, which is the classic work that can best represent the style of Chu Sui Liangkaishu, and is also a milestone work in the development of Chinese calligraphy history. Qin Wen Jin of the Qing Dynasty praised: "Chu Dengshan is a good book, looking like Luo Qi Chanjuan, and his demeanor is copper and iron." This monument is particularly graceful and elegant, and the Buddha is like a gossamer. can pay the subtleties of the turning point one by one, and the essence of Moeller is the crown of the monuments of the Tang Dynasty. ”
LiumeiChu Suiliang perfectly integrates the blood and flesh, tendon and bone, rigidity and softness contained in the art of calligraphy, and the words are full of the beauty of the water hibiscus, presenting the exclusive charm of "dignified and beautiful, strong and graceful". Guo Shangxian of the Qing Dynasty commented on the "Fangjian Pavilion Inscription": "The Holy Order of Mercy and Grace and this most intentional book, flying and calm, seems to be an inch away from the paper, but it is actually seven points into the wood, and this stele is particularly fine. He also said: "The Zhongling book is the brightest and the bone method is steep." Qing Weng Fang Gang praised: "This Chu book is the most penmanship, the preface is more beautiful, and the record is wonderful and majestic, and it is impossible not to prepare." ”
In order to enter the line, fluent flying. In terms of brushwork, he has created a method of moving the pen in the air to enter the regular line, "if the shape is broken and connected", it produces a very flexible dynamic beauty. Such as "Yin", "Teaching", "Shi" and other silk ribbons, which are rare in Ou, Yu, Liu, and Yan Ti. From the straight pencil that wins with bones to the tendons to win.
One and two points of the pen are used at the same time, the strokes are distinct, the ups and downs are varied, the ups and downs are caused, and the good use of the curved pen shows a strong sense of rhythm. He never hides how he uses his brush, and even likes to emphasize the kaleidoscopic traces of this brushstroke, in order to achieve the lively rhythm and rhythm that he loves. Such as "knowing" and "not", with the pen round and fluent, free and easy; "Fei" (flying), "phase", "闍" (阇), if you see the chic and frank intention when waving their luck, it obviously has the dynamic feeling of "two kings" in writing. Just as Qing Yao Nai's "Bachu Book Sacred Order" said: "This monument in the south of Chu Henan, in the use of the pen is extremely thin, see the wonder of ups and downs." If it is not the old Tuofeng Ying, there is no way to see it, and it is true to treasure love. It tells the characteristics of the writing of Chu Shu, which shows the dexterity and interest of Chu Shu.
Reverse front with a pen, full of strength. Wang Shizhenyun of the Ming Dynasty: Chu Shu "has the power of a hook and a pinch." Although the external expansion takes the posture, and the middle has a method. He changed the previous regular script pen more "one extension straight down" characteristics, from Wang Xizhi's cursive script introduced "straight in and out" and "reverse in and out of hiding", horizontal painting vertical, vertical painting horizontally, between the beginning and end of the ups and downs, lifting and turning and back to the front also have certain rules. Its basic dot painting characteristics: first, "Qingjin", which is more slender than other contemporaneous calligraphy such as Ou and Yu; Although it is as thin as a hairspring, it is delicate but not weak, thin and tough, stiff, elastic "tendons", and the start and end are clean, and the pen is in place. The second is "moist", flesh and blood, fat but not bloated, thin but not withered. The third is "ethereal", the small strokes of a word, when they are handed over and connected with other strokes, they are rarely directly connected and connected, and there is a certain space gap or if there is nothing. Chu Suiliang made good use of "reverse strength" and grabbed the front against the pen. No matter how small the dot painting is, it has a sense of block surface and three-dimensionality, and it is by no means a simple "line". For example, there are many forms of "points", such as oblique points such as peak falling stones; The dots are dignified and complete; The vertical point is multi-elbow to take the momentum, with a unique posture; The vertical point is like a drop of water, lively and smart; The momentum of the picks is coherent, the square and the circle are applied at the same time, and the reverse is reversed, which is very interesting in the book. For example, the upper two points of the word "cover" are shaped like sheep's horns, small and heavy, and have a very textured texture.
The arc is mostly vivid and lively. Each stroke of Chu Shu contains a wealth of lifting and turning movements, and a large number of arcs are used to make the original straight and firm basic strokes, adding a soft and slender beauty. Such as long horizontal, long vertical, long apostrophe, long strokes and other main brushes, often one stroke three times, straight with curves, between the lines, like a steel wire winding, rich in a sense of flow and three-dimensional sense of gold and jade. Even if it is a ** article, such as "three", "five", "door", etc., almost one stroke is straight, but undulating, prioritized, and has a mood of singing and sighing. "No", "who", etc., or left and right, or left and right, or left and right. The lines are delicate and beautiful, and the strokes are more vivid and rhythmic through the arc trend, and the charm of the work is stronger. As Qing Liang Wei's "Chengjin Zhai Accumulation Record" said: "The vivid place of the Chu character is its light and floating place." ”
The body is colorful and the spirit is rich. The dot painting of "The Holy Order of the Wild Goose Pagoda" is full of vitality and vividness with the brush. Or heavy as a rock, or light as a flying flower, or as rigid as chiseled iron, or as soft as a young bud, a thousand postures, each showing its own wonder, presenting a kind of vitality full of vitality. First, the glyphs are different, such as "羣" (group), "temple", flat such as "Shang" and "So", oblique such as "Xi" and "young". The second is the same painting anomaly, such as "three", such as "nothing" (none), such as "yang" (yang), and "ran". The third is allogeneity, such as "Lin" and "stupid". Fourth, the same character, such as "Ding" or oblique hard or rounded, "wonderful" apostrophe or stretch into a skimming hook or shorter, "Fa" right lower apostrophe or in one go or written separately, "falling" next to the displacement of the word "and" more than 15, none of them are the same. Chu Shu pen is strong, in the twists and turns, to obtain a kind of ancient vine-like perseverance aesthetic image, not only enhance the depth of the strokes, but also the arc and the speed of the pen combined, in the regular script to add cursive strokes, reduce the stylized constraints in the regular script, to create a lively form of writing beauty. In the Song Dynasty, Yang Wufu said: "The method of cursive writing is ever-changing, and the magic is endless." Now in Chu in the regular script to see it. Or comment, the pen is strong, the momentum is ancient, and they are all one of them. Qing Bao Shichen's "Art Boat Shuangji" praised: "The preface to the sacred religion of Henan" is on the right side of the book, playing from left to right, and the words are welcomed; From right to left, the pen is against each other. Belch! Knowing this can be said and written. ”
Yuan Zhongdao of the Ming Dynasty "Kexue Zhai Collection" Volume 1 "Liu Xuandu Collection of Poems Preface" said: "Where wisdom flows, the flow is extremely interesting and interesting." The interest of the world is not self-wise. The exquisiteness and polymorphism of the mountains, the ripples of the water and the colorful, the vivid and multifaceted flowers, all of which are made of a kind of wisdom between heaven and earth, so the letter is cherished by people. "Chu Suiliang uses the pen like a dancer's sensitive toes, stretching and rolling freely, showing the beauty of flowing dance. Chu Shu because of the use of a pen, the strokes appear to be thinner, and because of its outstanding use of kung fu, the strokes are "graceful and vigorous, and the waves are winding like iron wires", reflecting the characteristics of "thin and hard"; However, the flexible and flying brushwork and thinner lines make him have the characteristics of "charming". In the delicate and graceful lines, there is a kind of smooth and comfortable, which flows leisurely between the fingers and wrists, and is implemented in the dot painting. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, Zhang Shen's "General Interpretation of the Law Book" said, "Chu Nanyun: Use the pen as a seal clay, such as a cone to draw sand, so that it is hidden in the front, and the book is calm." When it is used with a front, it often wants to pass through the back of the paper. Just as Mi Fu said: "Chu Suiliang is as familiar as a war horse, acting from people, and there is no arrogance." ”
ParkBeautyPan Boying's "A Brief History of Chinese Calligraphy" pointed out: "The most special point of Chu Suiliang's regular script is that there are many forms of official calligraphy. Many of the characters in his regular script are still almost intact official scripts, especially similar to the "Ritual Tablet", which was originally the result of his study of the book. "The Holy Order of the Wild Goose Pagoda" integrates the north and the south, and the north monument and the south post are all in the pen. The simple brushwork of the Rongli book retains the plump feet in the Lishu, which contrasts sharply with the finely cut strokes. It has both the breadth of the body and the ingenuity of the manuscript. Thin, people say that they have a historical body; Qingjun is elegant, and he has entered the right military hall again. Dong Kui of the Song Dynasty keenly pointed out in "Guangchuan Shubai": "Chu Henan has few books to learn, but can become a family law by itself." However, it is thin and energetic, and it is like the Western Han Dynasty, and it often does not reduce books such as "Copper Basket", so it is beyond the reach of later generations. ”
Start the pen and close the pen and keep the subordination. Qing Yao Mengqi "Character Learning Memories Reference" cloud: "Han Li's pen is reversed, the pen is saved, the beginning is reversed, and the collection is accumulated." "The reverse pen is the most powerful, and Chu Henan's books are all reversed", which seems extraordinary. The horizontal painting is reversed, such as the long horizontal "want", the short flat horizontal "sheng", and the right tip of the short horizontal "can"; The vertical painting is reversed, such as the vertical "god" of the hanging dew, and the vertical "middle" of the hanging needle; The painting is reversed, such as the return to the front of the "Fu", the short "Ao", the vertical "month", the oblique "order"; The painting is reversed, such as the flat "super"; The vertical hook is reversed, such as "seeking"; Horizontal lifting is reversed, such as "wonderful"; There are also horizontal paintings of "text" and the closing of long skimming, all of which are subordinate.
The horizontal drawing takes the arc potential, and the structure takes the back potential. The horizontal painting can best express the style characteristics of Chu characters that are open and upright, golden and jade, thin and firm. The twists and turns of some horizontal paintings and the upward throw of the pen are subordinated to the regular script, which is unique. For example, the opening of the "two", wide and broad horizontal brace, the two horizontal combination of the body is divided into the book of the multi-use method, the back of the momentum is clear, the lower long horizontal is similar to the rhythm of the "Ritual Tablet", just the end of the pen goose tail omitted. Another example is the length and horizontality of "眞" (true) and "its", that is, the arc potential, and the strokes are heavy on both sides and light in the middle. There is also the "multiplication" of the upper transverse upward slight warping, the lower length of the horizontal arc potential, the middle arch, and the upper horizontal just take the upper and lower opposite of the potential, and the lower horizontal is long, there is a tendency to stretch left and right. "Yes" the upper part of the "day", the left and right two straight paintings slightly take the back of the left and right, skimming the pen slightly to the left **, the pen is special, here the skimming, quite like the twists and turns of the book, take the back and stretch to the left and right.
Highlight the main pen, so that the knot is full of tension and fun. The first is to highlight the hook painting, the form of the hook changes a lot, such as "light", "also", "confusion" and "hidden" The main brush "Ge Hook" is very exaggerated. the second is to highlight the long and horizontal, long and vertical, such as the "three" and "pig" (岂) and so on; "Half", "analysis", etc. The third is to highlight the apostrophe, the apostrophe, all the apostrophe has an arc, belly, full and round, and the sparse and elegant, such as the "big" "day", "phoenix" and "Lu" skimming painting is hooked out to the left, leading upward, which is a reflection of the truth and grass created by him in regular calligraphy penmanship. It is mostly used to use heavy pen and long stroke, extending outward and exaggerating, broadening the scope of the left and right potential of the word, full of ancient meaning, showing the rhyme of Han Li's legacy, such as "husband" and "hand". Another example, "deer" and "li" (Li), skimming is in line with the purpose of "eight points", stretching and echoing left and right; Its posture, direction, and weight are extremely contrasted, the details are as silky and round, and the plump places are spread as much as they want, just right, and they stop abruptly, and the meaning is still unfinished. This should be taken as a reference to the word "Ritual Tablet", a little by one, although short and changing and flying, although slender and round like iron, the realm of pure fire.
Dexterous luck, the pen in the stele hidden reverse change, volley to take the momentum, "the plate is depressed, the pen is in the air, suddenly falls, accidental and paper, and the power outside the word, the meaning between the pen, can not exhaust its clues." For example, some paintings, flat or oblique writing, or with a round pen such as "Hui", or short and decisive such as "can", or outward extension such as "隂" (yin). On the whole, it is obviously thicker, more stretched and exaggerated than other strokes, and has the meaning of official calligraphy. Zhang Shen's "General Interpretation of the Law Book" cloud: "The handwriting of those who are good at writing has its original, and the side is subordinate to the seal. The wise have insight, and the ignorant do not hear. It is to hide the front with the law seal, and to fold and match it from the subordinate. "Guan Chu Sui Liang Kaishu, with the pen of the square circle, the knot to the back, the body of the wrapping, is really all from the ancient law," hidden in the visible, all exist is the Tao. Mi Youren praised in the Song Dynasty: "Chu Shu is the most beautiful among the famous scholars of Tang Xian, and the one who has the most laws of Xi." The real word has a subordinate law, and it is a family of its own, and it can be compared with others. ”
withBeautyTang Taizong's treatise on the book is "spirited and harmonious", and Wang Xizhi is respected alone, so Chu Suiliang's specialization and right army are famous. This "Chonghe" ** in Taoism, Confucianism called "neutralization", which is also an aesthetic category of Chinese calligraphy aesthetics, which means the spirit, form, brush, and body of the book, both inside and outside are "harmony". Mi Fu on the Tang calligraphy more picky harsh, only to Chu Henan book appreciation. His "Baojin Yingguang Collection" commented on Chu Lin's "Yu Ti" cloud: although the Linwang post is all Chu Fa, "Nine Dances, Cranes and Herons Fill the Court, Qiang Yu Mingjue, Slender Fit", "Such as the Flying Immortals" and so on, sentences highlight the "neutralization" style of Chu Shu.
Chu Kai gathers the beauty of all in one, "the few are subordinate to Yu Prison, and the long is the ancestor of the right army." "Its strength is from Europe, and its thinness comes from Sui, and he has also spied on the fun of Zhong Xuan, the ancestor of real books. Song Zhu Changwen's "Continuation of the Book" cloud: "Its books have many laws, or the body of Zhong Gong, and the ancient and vulgar, or the law of the teacher, and the thin and hard, as for the graceful and gorgeous chapter grass, they are all wonderful." "The elongated characters of Ou and Yu are shrunk into flat bodies, and the horizontal momentum is taken, and the flat square characters are sparse and accessible between the words, dense and tortuous between the lines, and the weather is wide and sparse. The middle palace is tightened, the four-dimensional is open, and the tightness is sparse, realizing the fusion of flat painting wide knots and oblique painting tight knots. Using the arrangement and combination of lines, tempering the texture of the lines with linear flexibility, writing a font that looks slender but is actually strong and full, creating a unique regular script style that is broad and sparse, beautiful and elegant.
The Holy Order of the Wild Goose Pagoda uses the pen to move, the pen twists and turns, the front is hidden, the press is frustrated, and the clever cloth is empty, and the meaning is allegorical. The structure is laid out, the peace is dangerous, it seems to be anyway, and each has its own intentions. It can be said that seeking fairness in unevenness, seeking change in staggering, and seeking unity in change, so as to achieve "violation but not offense, harmony and difference." ”
YuiBeautyQing Dynasty Liang Wei's "Commenting on Books" cloud: "Chu Shu lifts the pen 'empty', and the pen moves the 'spirit'." Thin, hard and straight, it is a superb. Qing Dynasty Wang Shu "Void Boat Inscription" commented: "The wild goose pagoda pen strength is thin, such as a hundred-year-old vine, and the sky is flying, the scum is exhausted and the void comes, think of its rhyme is superb, its desire is an inch away from the paper, such as the clear clouds hanging in the air, the immortal roaring tree, so it is floating and can not be climbed." ”
Chu Suiliang is a master with an aesthetic atmosphere, he is extremely sensitive to space, making good use of the void, not far away, not close, but wonderfully creating nature. "The Holy Order of the Wild Goose Pagoda" is in the creation of the environment, "taking the image outside", sparse and tranquil, virtual and real coexist, counting white as black, such as "entering the realm of ethereal and traceless". In the knot, special attention is paid to the breathability of the space inside the word, the middle palace is sparse, and the outer edge is tightened, showing a wide and graceful situation. Comparing Yan and Chu, Yan tends to be strong and heavy, the qi overflows outward, the real sees the virtual, and the sense of space is added outward; Chu is indifferent, introverted, introverted, and subtracted inward in the sense of space. Chu Shu is quiet and solemn throughout the body, refreshed and healthy, ethereal and empty, and he is especially seen in the outpouring of temperament. The strange atmosphere of the dust jumps out, as if there is the meaning of fairy wind and bones, which embodies the calligraphy charm of Chu Suiliang's entry into the world and detachment.
HeartBeautyYang Xiong of the Eastern Han Dynasty said: "Books, heart paintings." "The book is the voice of the heart, the law is outside the words, and the intention is the image of the words. Zhang Huaijun's "Book Break" cloud: Chu Suiliang is "erudite and knowledgeable, has Wang Zuocai, and is a loyal minister." Tang Taizong commented: "The knowledge is a little longer, the sex is also strong, and the loyalty is written." The people of the time praised the perseverance and courage of Chu Suiliang's bones, saying: "Wind and frost its exercises, iron and stone its heart", "one virtue is unique, eternal sorrow", which is also the elegant and elegant temperament of his works containing solemn but not losing his backbone. Whether it is books or character, Chu Suiliang has been admired and emulated by later generations. Yuan Jietun said: "Chu Shu is clear and vigorous, the big festival of his life, the cover has been seen between the pen and ink, the ancient book is like its person, and it is believed." Chu Suiliang, as the "vast master of education in the Tang Dynasty", continued and jumped out of the framework of the traditional calligraphy style of the "two kings", not only created the epoch-making "Chu style" regular script, but also provided a rich reference for the entire Tang Kai "Shang Fa", established his extraordinary position in the history of calligraphy in the Tang Dynasty, and also set up a model of noble personality for later generations of calligraphers. As Zhu Guantian commented: "There is a door to be found in the Tang Kaishu, and its book is thin and luxurious, rigid and soft, so that the Wei and Jin dynasties have changed their ears, so the three families of the early Tang Dynasty, the one who really opened the door of Li Tang Kaishu, is the Chu family!" ”
(Wen Gao Junling, the author is a member of the Hebei Calligraphers Association and the Hebei Literature and Art Critics Association).