The most influential calligrapher in the history of calligraphy is Wang Xizhi, a calligrapher and writer in the Eastern Jin Dynasty. Words escape less. Langya was a native of Linyi, and later moved to Yinshan Huiji (now Shaoxing, Zhejiang). Known as the "book saint." He is also good at poetry, but his literary talent is mostly covered by the name of calligraphy and is not valued by the world. He used to be the right general and civil servant of Huiji, and was called Wang Youjun. They are called "book saints". Wang Xizhi's running script Preface to Lanting is known as "the best running script in the world". Critics say that his writing style is like a cloud and agile as a dragon, and Wang Xizhi's calligraphy handed down from ancient times can make you deeply understand the word "Miao". His works are wonderful, and there is no suspicion of similarity and boredom. China's calligraphy reached the highest peak in his works, but later generations only developed and perfected it in some aspects: meaning or method, rhyme or momentum. There are many people who have gone too far. Generally speaking, they are unparalleled.
Ou Yangxun-European style
Born in the first year of Emperor Yongding of the Southern Dynasties (557), he died in the fifteenth year of Zhenguan of Emperor Taizong (64 1). He was born in Linxiang (now Hunan) in Tanzhou. Known for regular script and running script. As the largest regular calligrapher in the history of calligraphy, his fonts are called "European style", including Yan (Zhenqing), Liu (Gongquan) and Zhao (Meng? \) neck and neck.
Liu Gongquan-Liu Ti
Born in Dali, Tang Daizong for thirteen years (778), he died in Xian Tong, Zong Yi for six years (865). The word Cheng, Jing Zhao Huayuan (now Yaoxian County, Shaanxi Province) was born. Famous regular script writer in Tang Dynasty.
Yan Zhenqing-Yanti
Yan Zhenqing (709 ~ 785) was a calligrapher in the Tang Dynasty. Chen Qing, a native of Jingzhao Wannian (now Xi, Shaanxi), was originally from Linyi (now Linyi, Shandong). The History of Books is also called Yan. Be upright, be upright. The innovator of calligraphy in the Tang Dynasty set up a banner for calligraphy in the prosperous Tang Dynasty. Yan Zhenqing studied books since childhood and was taught by Zhang Xu. He also studied and developed Cai Yong, Wang Xizhi, Wang Xianzhi and Chu Suiliang, and formed his own unique style. Its regular script is square and dense, the strokes are light and heavy, the brushwork is vigorous and round, and the momentum is solemn and vigorous, so it is called "Yan Ti". His cursive script is concise and powerful, with ups and downs.
Zhao Meng? \-Zhao Ti
Zhao Meng? \ (1254- 1322) Zi 'ang, Taoist Cedar in Taoist Crystal Palace, Huzhou City, Zhejiang Province. Official to Hanlin Bachelor, Doctor Rong Lu, Duke Wei, History. He is the author of Song Xuezhai Collection. Zhao Meng? He was an influential calligrapher in the early Yuan Dynasty. The legend of "Yuan Shi", "Meng? The calligraphy of seal script is divided into real cursive script, which is the highest in ancient and modern times, so the title is the world. " Praise. According to Song Lian, a scholar, Zhao's calligraphy learned the book of the Four Spirits (namely,) of the Eight Laws in his early years, Zhong You and Immortals in his middle years, and books in his later years. In addition, he also visited Dingding Monument in Yuan and Wei Dynasties, Yu Shinan and Chu Suiliang in Tang Dynasty, which was a great achievement of predecessors. Therefore, Zhao's success in calligraphy is inseparable from his ability to learn from other people's long sentences. The two kings in the history of calligraphy refer to Wang Xizhi (307-365) and Wang Xianzhi (344-386) in the Eastern Jin Dynasty. Jin Dynasty is an important period in the history of calligraphy in China, among which Wang Xizhi and Wang Xianzhi are the most outstanding representatives. In particular, the school of running script they founded is the source of China's running script. Wang Xizhi's running script prefers running script, while Wang Xianzhi's running script prefers running script. Wang Xizhi's calligraphy is written with a pen and won with strength. Wang Xianzhi's running script is extended with a pen, and won with strength and strength. Wang Xizhi's running script can be roughly divided into three categories. The first category is the calligraphy of rulers' letters, such as Wang Xizhi's Biography of Ink, which is the largest category of Wang Xizhi's running script works. The second category is running script works, such as Preface to Lanting, the world's first running script, which is the most rigorous and accurate of his running script works. The third category is the works collected by later generations, such as the Preface of Wang Xizhi collected by Huairentang. Wang Xizhi's running script is smooth and mellow, calm and steady, mellow and elegant, exquisite and beautiful, full of changes, vivid and intriguing. Learn the success signs of Wang Xizhi's running script and see if you can get Wang Xizhi's exquisite pen movements and vivid and intriguing line effects. Wang Xianzhi, the seventh son of Wang Xizhi, studied under his father's calligraphy in his early years, and then under Zhang Zhi, and became a family of his own, with the same name as his father, and was later called "the two kings". Handed down works include Mid-Autumn Festival Sticker and Duck Head Pill Sticker. Wang Xianzhi's running script is elegant and free, and his pen is free and easy, which has a great influence on later generations. Yan Zhenqing's running script Yan Zhenqing (709-785) is another artistic monument in the history of China calligraphy after the "Two Kings". "Sacrifice to My Nephew" is a manuscript written by Yan Zhenqing in memory of the late nephew Ji Ming. This work was written in memory of Yan Gaoqing, my brother, and Yan Jiming, my nephew, who died in the Anshi Rebellion. Especially when Yan Jiming died, Yan Zhenqing felt deeply about his own flesh and blood relatives, and did not stick to the law, and eventually became a swan song. Yan Zhenqing's calligraphy boldly absorbs the characteristics of seal script lines and is unique on the basis of the calligraphy of the two kings. As soon as he changed the ancient law, Chinese characters became a pattern, which had a great influence on later generations. Wang Xizhi's calligraphy is slender and charming, while Yan Zhenqing's is plump and vigorous. Wang Xizhi used finger power, while Yan Zhenqing used wrist power. Wang Xizhi's ink is warm and moist, while Yan Zhenqing's ink is light and astringent. Wang Xizhi's pen is exquisite, and Yan Zhenqing's pen is handy. Wang Xizhi's composition is perfect, and Yan Zhenqing's composition is very shocking. Yan Zhenqing's calligraphy is good at controlling pen and ink with emotion. His emotions are strong, his charm is lofty, his brushwork is heavy, his momentum is magnificent, and he is magnificent. The whole structure of Sacrificing a Nephew is broad, just, upright, open, closed, free and easy, generous and wild. Throughout the whole article, no matter the pen, structure and composition, it is varied and natural and harmonious. Throughout the history of China's calligraphy, Song people's respect for calligraphy can be roughly divided into two stages, and the dividing line between these two stages is in the Tang Dynasty. People usually think that before the Tang Dynasty, it was the exploration stage of calligraphy, and after the Tang Dynasty, it was the mature stage of calligraphy development. It was not until the emergence of Shangyi calligraphy in Song Dynasty that the art of calligraphy could be closer to human nature. Yang Ningshi, a calligrapher in the Five Dynasties, was a pioneer who attached importance to calligraphy in the Song Dynasty. Yang Ningshi (873-954) has few works handed down from generation to generation, among which Jiuhua Tie and Ten Postscripts of Lu Hong Caotang are his representative works. Jiuhua Tie is neat, beautiful and elegant, with complete demeanor of two kings and full charm of Wei and Jin Dynasties. His classic book style, good at action painting, bold and white, oblique, relaxed and alienated, free and easy, greatly inspired future generations. On the other hand, Lu Hong Caotang's Ten Pictures and Postscripts are contrary to Jiuhuatie's restrained charm, and the scene is extremely lush. In addition, the style, style and aesthetic span of Xia Re Tie and Shen Xian Zhu Tie are impressive. Yang Ningshi was an over-calligrapher in the Tang and Song Dynasties. He was a link between the Tang Dynasty and the next, which laid the foundation for future generations to develop the style of attaching importance to books. However, it is not the work of one person that can start the wind of attaching importance to books in the Song Dynasty, but the joint efforts of people of the whole era, including Li Jianzhong, Cai Xiang, Su Shi, Mi Fei and Huang Tingjian. Among them, Su Shi (1037-1kloc-0/01) has the highest achievement in calligraphy. Zhao Mengfu and Dong Qichang learned the running script with dull ancient meaning, and the "two kings" were undoubtedly the right ones. Most people who deviate from this main line and take shortcuts by cleverness are prone to frivolous and superficial ignorance. Zhao Mengfu and Dong Qichang, outstanding representatives of the "Two Kings" Zhengmai system, are rare all-round calligraphers in history. The significance of Zhao Mengfu (1254- 1322) is that since the Song Dynasty, when the problem of "attaching importance to meaning over law" was widespread in calligraphy, Zhao Mengfu reflected on people, and he proposed to revive the ancient laws of Wei and Jin Dynasties, boldly playing the banner of "attaching importance to ancient meaning". As a result, the third great change in the history of calligraphy development in China took place, which made outstanding contributions to the new atmosphere of calligraphy in Kaiyuan Ming Dynasty. He indulged in the ancient law all his life and went deep into the "two kings" without embarrassment. Zhao Mengfu took the method of Tang and Song Dynasties in his early years, Wang Zhong and Zhi Yong in his middle age, and Li Yong in his later years. His calligraphy is like a romantic genius in Jiangnan, very beautiful and quiet, with elegant posture like a gentleman. Judging from his touching writing style, his pen is so fluent, his knowledge is so profound, and he is skilled and handy everywhere. His calligraphy is gorgeous but not lacking in strength, gorgeous but not charming, elegant and chic, beautiful and beautiful. This is a completely "neutral beauty" style, which is the perfect unity of completely profound skill and rich knowledge. He is so perfect and exquisite in the processing of stippling. Although the thickness is uniform, he is witty and beautiful. In the heart, he is so smooth and dignified. Although there is no crooked font, he attaches great importance to the collocation between stippling, whether it's up, down, left and right back, or the size is dense, open and close, peaceful and even, all of which are so decent. Dong Qichang's calligraphy is elegant and smart, moist and attractive, but refined. He took Mifei as his ancestor and later became a family of his own. He advocates innocence and lightness, and likes to use light ink. He thinks that "the cleverness of writing lies in using pens, especially ink", which makes his works particularly elegant and elegant. Although Dong Qichang was not an innovator in the book circle, he was indeed a founder of the Ming Dynasty. Dong Qichang's pioneering school is embodied in the charm, brushwork and ink method of classical calligraphy. He is proficient in Zen, and permeates calligraphy with Zen theory, emphasizing innocence, plainness, elegance and elegance, and emphasizing the combination of rhyme, law and meaning. Write your own words. Some people think that this temporary method is not very clever, but in fact, on the contrary, this is exactly what makes him clever. Dong Qichang is a master. As a master, it is impossible not to know that the post should pursue both form and spirit. The implication is that he pursues the spirit of writing, and the pure and true artistic realm of writing. Dong Qichang's calligraphy is neither Xu Wei's wild nor Wang Duo's wild, but his own unique gentle and elegant, gentle and classical traditional guardian. Because of the appearance of Dong Qichang, it played a leading role in the calligraphy schools formed in the late Ming Dynasty. Dong Qichang is good at using pens and has unique opinions. He said: "When writing a book, you must be able to write. What is the beginning, what is the end, you can't trust the pen, and future generations believe in it. Pick up the pen where you send it, don't suppress it, and don't spread the word forever. It is difficult to cover with a pen, but it is difficult to be vigorous. Vigorous is not to say that it is strong with a pen, but the strength of a strong person, and he can afford it ... "
Dong Qichang's brushwork is also very particular about it. It is dull and dry, and the music is wonderful. If people who study books can work together with Mohism, it is a sign of superiority. Dong Qichang makes good use of light ink, often with emptiness and rhyme, aiming at pursuing a clean, elegant and leisurely style. His calligraphy works, generous, elegant and classical, seem to be scattered in shape but not scattered in spirit, with interlocking lines, and never reveal a little impetuous spirit, which is a well-deserved generation of great calligraphers. His representative works include Red Cliff Fu, Moonlight Fu and Confessions of Xie Xuelong. The calligraphy of famous calligraphers in the Ming and Qing Dynasties also deserves great attention, including Huang Daozhou, Wang Duo, Zhu Yunming, Wang Chong, Ni, He, Yang Shoujing, Fu Shan and Zhao. Among the calligraphers in the Ming Dynasty, Huang Daozhou's cursive script (1585- 1646) had a great influence on today's calligraphy circle. Pan Tianshou, Lai Chusheng, Sha Menghai and others, the world's great calligraphers, have deeply studied Huang Daozhou's style. Huang Daozhou is a man of great learning. He, Wang Duo and Ni are called "Three Madmen". Huang Daozhou's cursive script is outstanding, and the small letters are amazing. In his books, there is a kind of creative spirit of "keeping promises" and a strong traditional skill. His small letters adopted the method of law, changed into a rigorous and regular style, and suddenly appeared a casual and unruly style. In his other books, it is not difficult to see that besides the rhyme of Zhong You and Wang Xizhi, there are many mellow official meanings. Many people think that writing should be beautiful and straight. I don't know, too delicate is easy to cause delicate problems, too tall and straight is easy to cause plain problems. In fact, exquisiteness and stagnation are two stubborn diseases in learning books. In this regard, Huang Daozhou believes: "Calligraphy is based on beauty, and it is superior if it is deep but not lost." He closely linked the art of calligraphy with his personal style. The stippling is spicy, moist, heavy and healthy, which is both ancient and elegant, not rigid in rules and regulations, smooth and freehand, and rich in content. His cursive script is round, vigorous and vigorous. The stippling is healthy, moist and spicy, dignified and smart, and echoes intermittently. He also intends to take the horizontal trend with Li's intention, aiming at pursuing elegance and elegance. It also takes the ancient quality of Cao Zhang as its temperament, and pursues the ingenious fluctuation trend. What's more admirable is that he didn't pursue fluent rules or indulge his talents. Instead, he combined the pen and ink skills of the two kings with the changeable spirit of cursive script tacitly, creating his own unique artistic style. His creativity is also manifested in the treatment of composition layout, which creates a unique formal beauty with enlarged line spacing, compact word spacing, well-connected lines and inclined fonts, and has an aggressive momentum. His brushwork is done in one go, and there is no feeling of leaving a pen or being dull. In addition, every word is pitching and swaying, which makes the whole composition fresh and lively, full of energy and full of spirit. At present, many people learn Huang Daozhou, but few learn it well, especially beginners. As a result, many people just follow the same pattern to learn the wonders and risks, and often fall into madness. This is what people who study Huang must take as a warning. Wang Duo (1592- 1652), whose representative works include "washing the heart axis", "miscellaneous poems in the mountains" and "adding the poem axis", was born in the Wanli period of the Ming Dynasty and was a master of both poetry and calligraphy. His era was dominated by Zhao Dong's calligraphy style, especially when Dong School's calligraphy prevailed, people were still gentle and charming, especially lacking the spirit of striving for strength. In this case, Wang Duo, Huang Daozhou, Ni and others made great strides against the times and made innovations with their heroic writing style. Wang Duo is the most prominent. Wang Duo's calligraphy is based on "Two Kings", with "Two Kings", "Li Beihai" and "Minnan Gong" as the main axes. The cursive script comes from the "two kings" and the official book comes from the clock. Although he learned from Zhong Wang, he was able to create new ideas. Wang Duo strongly opposed literati calligraphy in school, strongly opposed to following the popular calligraphy style at that time, and advocated learning from the ancients. He said: "Calligraphy is more expensive than ancient architecture. If you read this book carefully, gravity will be effective. The difficulty of the ancient times, the ease of today, the deep strangeness of the ancient times, the tenderness and weakness of today, and the easy learning. " Wang Duo emphasized that learning books should first inherit the tradition, and only by carefully studying predecessors' works can we produce creative ideas. To learn calligraphy, we must work hard on the word "ancient". If you can't work hard on the word "ancient", even if you work hard for decades, you can't finally step into the right path. If you work hard on the word "ancient", you should also pay attention to a problem of how to learn it. Wang Duo is good at learning from predecessors, but he is better at bringing forth the old and bringing forth the new without being bound by ancient laws. Wang Duo studied the epigraphy of "Two Kings" in his early years. Later, he learned about ancient monuments and combined epigraphy with epigraphy. Especially after studying Mi Fei, he was able to creatively change and develop Mi Fei's brushwork, not only distancing himself from the "Two Kings", but also keeping a consistent mental outlook with Mi Fei. However, Wang Duo is far superior to Mi Fei in square bending stiffness and undulation. Wang Duo's achievements in cursive script are the highest, and his writing is very exaggerated. He runs a new method, sometimes round, sometimes square, sometimes positive, sometimes oblique, sometimes sharp. It seems that his brushwork is messy and bright, and his temperament is excellent. Sometimes his calligraphy is rigorous, his style is calm, his pen and ink change, and he is fresh and lively. The vigorous line texture, ups and downs, intense temperament, full Mo Yun, mellow stippling, dense structure and harmonious rhythm make the whole work space smart, ink and wash blend, healthy bones and muscles, and show distinct personality in pen and ink and composition. Wang Duo's cursive script has a dense and arbitrary structure and is intertwined; Big and small, whatever. Between words, the internal strength is closely linked, and the font is smooth, strange and dangerous, which becomes a suspense. The whole work is full of smoke, white and natural, euphemistic and implicit. There are many cursive works by Wang Duo, such as Memories of Zishan Poems, Two Poems Touching the Meaning, Kulan Hua Fu Fu and so on. In a word, calligraphy prevailed in the study of iron in Ming Dynasty, and with the promotion of Dong Qichang, calligraphy became more skillful and personalized, and a large number of famous calligraphers appeared. Such as Zhu Yunming,,, Ni, etc. Zhu Yunming's calligraphy has the elegance of Wang, the elegance and changeability of Mi, the vigor and fluency of Huang, and the roundness and boldness of Huai Su. But the highest achievement of Zhu Yunming's calligraphy is cursive script. Wen Zhiming's running script, especially the grass, is the most wonderful. Zhang Ruitu's running script has a peculiar style. He writes firmly and uses wingers boldly, which is very dreamy. His running script is arbitrary and has statutes, and it is easy to grasp the ups and downs. The turning point is often reversed, full of strong sense of rhythm. Structurally, he also tried to break the normal, correct and symmetrical pattern to replace justice. Sometimes patchwork, sometimes avoid interspersed, sometimes Shu Lang generous, sometimes tight and tight. In composition, his spacing is very close, and his spacing is very sparse. The exceptionally sparse line spacing just leaves room for the uneven level and generosity of the characters, thus making its own composition show the contrast of "vertical compactness and horizontal Shu Lang", which has a strong sense of rhythm and contrast. Ni's running script is also quite distinctive, with a refreshing pen, which is obviously astringent when wielding a brush, and the shade and dryness of ink naturally coexist. In the glyph structure, the upper right corner of the word is often slightly raised, and the lower left corner is slightly extended, which makes the word extremely dangerous and has a strong sense of rhythm. As for the calligraphy in Qing dynasty, as far as calligraphy research is concerned, the art of calligraphy can be said to be the end of the road because of the prevalence of official style. However, the development of calligraphy in the Qing dynasty also had a good opportunity, that is, a large number of ancient monuments were unearthed, which finally made many people of insight wake up. With their loud voice and advocacy, calligraphy in the Qing Dynasty embarked on a road of vigorously studying inscriptions.