Help analyze the characteristics of Chu Suiliang s characters and how to write them well Yanta Holy

Chu Suiliang (596 A.D., 659 A.D.), the word Dengshan, Tang Dynasty politician Zi Hunger, calligrapher, Yangzhai (now Yuzhou, Henan) people; Chu Suiliang is erudite and talented, proficient in literature and history, at the end of the Sui Dynasty, he followed Xue Ju as a general secretary, and later served as a counselor in the Tang Dynasty, and served as a member of the Zhongshu Ling, etc., Tang Zhenguan twenty-three years (649 AD) and the eldest grandson Wuji were jointly assisted by the edict of Taiji Fengzong; After resolutely opposing Wu Zetian, he was demoted to the governor of Tanzhou (Changsha), and after Empress Wu ascended the throne, he was transferred to the governor of Guizhou (Guilin), and then degraded Aizhou (now Thanh Hoa in northern Vietnam) to assassinate the history, Tang Xianqing died in the third year (658 AD); Chu Sui Lianggong calligraphy, the first to learn Yu Shinan, and later take the law Wang Xizhi, and Ouyang Xun, Yu Shinan, Xue Ji and called "the four masters of the early Tang Dynasty"; The hand-me-down inkblots include "Master Meng's Tablet", "Wild Goose Pagoda Holy Order" and so on.

Personally, I think that Chu is more willowy.

The Tang Dynasty had a highly developed culture, and in general, this culture was higher than in any previous era. Under the influence of this culture, a large number of first-class politicians, literati, and connoisseurs have emerged, who are polite and thoughtful, speak elegantly, and have excellent artistic accomplishments and noble aesthetic tastes.

The purpose of the study of art history, as stated in Wolflin's Principles of Art History, is to conceive of style as an expression, an expression of the temperament of an era and a people, and also of personal temperament. Chu Suiliang's calligraphy also reflects these points. In other words, in his calligraphy art, we can not only see the atmosphere of the times in which he lived, but also the display of the aristocratic atmosphere of his class, and at the same time, we can also see his own aesthetic attitude that can be called "aesthetic".

As with him as a politician, the temperament of an artist is embodied in him.

Unfortunately, almost no treatise on calligraphy has survived, so we cannot understand his calligraphic ideas at a glance. However, Chu Suiliang's father Yu Liang was friends with Ouyang Xun and Yu Shinan, which of course affected Chu Suiliang's calligraphy style.

Chu Suiliang had a conversation with Yu Shinan: "Chu Suiliang also named himself a book, and asked Yu Shinan to say: 'How is my book like Zhiyong?'

He replied: 'I heard that he was 50,000 words, how could you get this?' 'Said:'

Which is the inquiry? He said: "I don't choose pen and paper when I hear the inquiry, but I can get it as I am, how can you get this?"

Sui Liang said: 'Then what is it? Shinan said:

If you have a hand and a pen, you can be precious. Then he was overjoyed. (New Tang Dynasty Book, Volume 198, "Ouyang Xun Biography") These words may have been inspiring Chu Suiliang.

The font of Chu Suiliang is "褚体".

Chu Suiliang (596-658 or 659), the name Dengshan, was a native of Qiantang, Hangzhou (now Hangzhou, Zhejiang), his ancestral home was Yangzhai (now Yuzhou, Henan), a politician and calligrapher in the Tang Dynasty.

Chu Sui good work in calligraphy, the beginning of learning Yu Shinan, and later take the law Wang Xizhi, and Ouyang Xun, Yu Shinan, Xue Ji and called "the early Tang Dynasty four masters", handed down the ink has "Master Meng's tablet", "Yanta Holy Order" and so on.

Regular script is Chu Suiliang's masterpiece, a typical cliff style.

The Monument of the Yique Buddha Shrine is a representative work of the early Chu Shu. It is the largest of Chu Sui Liang Kaishu seen in China at present, the font is delicate and dignified, broad and ancient, and it is the standard early Tang Kaishu. Although this stele is a stele, it is actually a cliff carved stone.

Both have the same function, and both are for the sake of singing. However, the conditions are different when creating, one is as smooth as a mirror, while the other is uneven, and the writing environment will not be so comfortable. Therefore, the characteristics of cliff calligraphy are self-evident.

Because it is impossible to see up close and meticulously carved, it is extremely extravagant in the momentum, the glyph is much larger than the inscription, and the volume is free, and the opening is ups and downs. It is at this point, like the Han Dynasty's "Ode to the Stone Gate", "Ode to the Pavilion", "Ode to the West Gorge", they are magnanimous, the rhyme is flying, natural and simple, even if it is such as the "Ritual Tablet", "Yiying Tablet", "Shi Chen Tablet" and other real inscription masterpieces can not be compared, Chu Suiliang's "Yique Buddha Shrine Tablet", is such a typical cliff style of calligraphy.

Sui Liang's pen is vigorous, and Wang Yi is less physical. "Nowadays, calligraphers like to write big-character "Yin Fu Jing" and "Yanta Holy Religion", from the Chu character to explore the two kings Zhenwei, Xun is the right way.

Chu Suiliang's regular script works appear before and after two different styles, the early stage of the "Yique Buddha Shrine Tablet" and "Master Meng's Tablet" book style is roughly the same, all with a square pen, the pen is exposed, the hook and other strokes are straight out of the front and not back to the front, the calligraphy and painting are not obvious, maintaining the characteristics of the book style of Ou and Yu, in the movement of the pen and the knot, a large number of incorporation into the posture of the official book, selectively absorb innovation, for their own use.

Fang Xuanling Monument and "Wild Goose Pagoda Holy Order" are his late works, one of the two old men of Hu Feng is neat and strict, and the other is ethereal and flying, and the pen is turned from a straight two-point pen that wins with bones to tendons.

One and two points of the pen are used simultaneously, the strokes are undulating and colorful, the ups and downs are caused, and the curved pen is used at the same time, showing a strong sense of rhythm.

Chu Suiliang calligraphy can absorb the strengths of the family, not suppressed by the predecessors, his trousers give people a sense of the weight of flesh and bone to achieve a balance, and rigid and soft, clear and beautiful, handsome and chic, force and beauty, bone and rhyme tend to be one.