Who are the famous calligraphers of each dynasty?

Top Ten Chinese Historical Calligraphers (most representative, ranked chronologically)

Zhong Xizhi

Wang Xizhi

Chu Suiliang

Ouyang Xun

Yan Zhenqing

Liu Kung-kuen

Waisu

Mi Fu

Zhao Mengfu

Historical Female Calligraphers.

Wang Xizhi's cursive, regular and running scripts have been admired throughout the ages. His teacher was a famous female calligrapher of the Eastern Jin Dynasty, surnamed Wei and Shou, known as Lady Wei. Mrs. Wei studied the calligraphy of Zhong Yao during the kingdom and reached the point of ascension. Her masterpiece is "Ancient Famous Ji Post" in lower case. Its writing style is ancient and solemn, with a natural body, and it is the top grade of the regular script.

Before Mrs. Wei, there was another female calligrapher. She was Cai Wenji, a poetess in the late Eastern Han Dynasty, who was famous for her "Eighteen Beats of Hu Jia" and "Poems of Sorrow and Anger", etc. Her name was Diem, and Wenji was the name of the poetess. Her name was Diem, and Wen Ji was her character. Her father, Cai Yong, was very skillful in literature and calligraphy. Cai Wenji inherited her family's teachings and took her place in the history of calligraphy.

In the Tang, Song, Yuan and Ming Dynasties, there were also many female calligraphers. In the Tang Dynasty, there were female calligraphers such as Wu Cailuan, Xue Tao and Wu Zetian. Wu Cailuan's small regular script, very much the penmanship of Zhong Yao, Wang Xizhi, strong and elegant, comparable to Mrs. Wei. Xue Tao's "Chen Si Wang Beauty Chapter", running script, strokes fell and elegant. Wu Zetian writing cursive, calligraphic euphony. Song dynasty female calligraphers have Zhu Shujin, the book of the lowercase, dignified and refined, y Wang Xizhi penmanship. Pipeline ascension is a female calligrapher in the Yuan dynasty. Word Zhong Ji, she was the wife of Zhao Meng俯, Zhao Meng俯字子昂, No. Songxue Taoist, good at calligraphy and painting, calligraphy for the Yuan dynasty masters.

When Pipeline Sheng first married Zhao Meng俯, her calligraphy was better than her husband's, but later Zhao Meng俯 caught up and surpassed his wife. Pipeline Sheng wrote the lower case of "Plum Blossom" fugue, which is clear and leisurely.

Wei Jin and North and South Dynasties: Cao Cao Zhong Careless Wang Xi Zhi Wang Xian Zhi Wang Hui Zhi Suo Jing Wei Heng Wei Lady Xie An Wang Xun Bo Shao Zhi Xiao Si Xiang Xiao Yan Wang Hui Wang Wang Sheng Ci Wang Zhi Yang Xin

Sui, Tang and Fifth Generation: Zhi Yong He Zhizhang Zhang Xu Ouyang Qun Chu Suiliang Yan Zhenqing Li Yong Xu Hao Huai Su Sun Tou Ting Liu Gongquan Yang Ningshi

Song, Liao and Jin: Li Jianzhong Su Shi Huang Tingjian Mi Fu Cai Xiang Cai Jing Ouyang Xiu Lin Bu Zhao Ji, Xue Shaopeng, Bai Yuchan, Zhu Xi, Zhang Zizhi, Wu Ju, Wen Tianxiang

Yuan Dynasty: Zhao Mengfu

Yang Weizhen, Xian Yushu, Ni Zan, Deng Wenyuan, Kangli, Raojie, Feng Zizhen, Zhang Yu, Ke Jiushi

Ming Dynasty: Dong Qichang, Wang Duoduo, Wen Zhengming, Zhu Yunming, Xu Wei, Wang Wei, Zhang Zang, Ruitu, Huang Daozhou, Ni Yuanlu, Chen Chun, Chen Xianzhang, Chen Jiru, Chen Hongshou, Beansan, Cai Yu, Tangyin, Mi Wanzhong, Moluilong, Shen Du, Shen Ch'an, Song K., Sun Shenxiang, Si. Take charge Wen Peng Xie Jin Xing Dong Yao Shou Zhang Bi

Qing Dynasty: Fu Shan Bada Shanren Yi Bingshou Jin Nong Deng Shiru He Shaoji Wu Changshuo Gu Yanwu Shi Tao Song Cao Chashibiao Zheng Worship Bao Shichen Ba Huizu Chen Hongshou Tiebao Moyouzhi Zhang Zhao Zhou Lianggong Gao Fenghan Zheng Xie Wang Shishen Li Li Li Shi Huang Shen Liang Peak Liu Lawrence Wang Wenzhi Qian Feng Wanjing Gong Yin Dingjing Huang Yi Zhao Zhiqian Weng Tongqian Kotewall Wu Fanggang Wu Rangzhi Xu Sangeng Wu Dajie Shen Tsengshi Zeng Guofan Zhang Yuzhao Yu Yue Yang Shoujing Yao Nai Pu Hua Kang Youwei Tan Sitong Liang Qichao

Three traitorous calligraphers in Chinese history

Cai Jing, Qin Hui, Yan Song, although known as calligraphy, but because of their treachery and evil and the abolition of the word,

There are very few works of calligraphy left.

Cai Jing, a native of Fujian Province, was the first of the "six thieves" during the reign of Emperor Huizong of the Song Dynasty. He colluded with Tong Guan, an official of the inner court, to blackmail Emperor Huizong of the Song Dynasty, and pushed the Song Dynasty into the abyss of disaster. Cai Jing's

calligraphy was so unique that even the arrogant Mi Fu once said his calligraphy was inferior to his.

The Cai of "Su, Huang, Mi and Cai" originally referred to Cai Jing, but later people, who were evil, changed it to Cai Xiang.

Qin Hui, a native of Jiangsu, killed Yue Fei, the national hero, insisted on surrendering, and was a famous traitor in the Southern Song Dynasty, during the reign of Emperor Huizong. He was a scholar, erudite, calligraphy is quite attained, in

imitating Huizong Zhao Ji "thin gold" font on the basis of the creation of a neatly delineated,

simple and easy to learn a unique font, used to write zhengzuo, and even the Song Huizong ordered the national unity in accordance with the

Qin Hui's model font to write official documents. This font gradually evolved into the printing of the "Song style"

Yan Song, Jiangxi people, 25 years of age, the temple examination in the second grade, calligraphy skills. Later, the

party camping, brutalization of loyalists, and ultimately ended up cutting for the people, the family property all copied, the family property *** copied

gold more than 30,000 taels of silver two million taels, equivalent to the country's total revenue of one year at that time.

According to legend, in the Qing Dynasty, the capital city of Shuntian Province, the township examination of the Tribute Palace plaque on the "to the public hall" three words,

is a treacherous Yan Artemisia book, the Qianlong Emperor wanted to replace it, then ordered a full of books can write these three

big words, he himself wrote several times, but he felt that his own imperial pen and the words written by other people,

This is the first time that I have seen this, and it's not the only thing that I've seen. But he felt that his own imperial pen and the words written by others

were not as good as Yan Song's, so he had to give up and still let the words of the treacherous Yan Song hang high.

Introduction of Calligraphy

Calligraphy is an art with a long history and the broadest mass base in China, which shows colorful strokes, chapters and gestures with the unique lines and writing rules of Chinese characters, reflecting people's temperament, interests and aesthetic ideals. It is the fruit of our ancestors' artistic creation by continuously embellishing the formation of writing in their long-term practice. It has a highly respected position in traditional culture, and is universally loved by the Chinese people, and is a unique traditional art of China that cannot be replaced by other forms of art.

Formation of the Art of Calligraphy

The art of calligraphy, which developed from the writing of characters, is closely related to the development of Chinese characters. On the vessels of Longshan and Yangshao cultures, there are some inscribed symbols, which are similar to the oracle-bone inscriptions. The oracle-bone inscriptions of the Shang Dynasty were already mature Chinese characters, which showed different styles in the early, middle, and late periods, reflecting skillful techniques and certain aesthetic pursuits, and had already had the basic elements of the art of calligraphy. The inscriptions on Shang and Zhou bronzes are full of variations in lines, and there is an obvious trend of neatness in the arrangement. The bronze inscriptions of the Warring States period have a strong decorative style, but up to this time, the writing was still used as a tool for communication, and the classical literature shows that people had not yet linked the line structure of the writing with their spiritual life. After the unification of the Qin Dynasty, the Qin Dynasty organized the script, deleted the variant forms, and created the Small Seal Script, which was rich in decorative style, but the Small Seal Script was never universally used. It was not until the maturity of the official script in the Han Dynasty that the structure of Chinese characters changed greatly, enriching the expressive power of lines. During the Eastern Han Dynasty, the study of calligraphy became a trend, and monographs discussing the functions of calligraphy, such as Cai Yong's Theory of the Brush, appeared, and calligraphy became an independent art. There are also people based on the Yuan Dynasty LiuYin in "JingChuanYiYuJie" in the account: "words and paintings of the work of the clumsy, the first Qin do not think that the matter of ...... WeiJin since the beginning of the study of its full bloom, since the son of heaven, ministers, often to be able to book for the name of the perversion of a hundred, the law is ready to be a specialization of the study." It is believed that Wei Jin is the formation of the art of calligraphy. This is a controversial issue in the academic community.

Oracle Calligraphy

This is the businessman with a knife carved on the tortoise shell and animal bone writing, is the oldest text found so far, already has some elements of the art of calligraphy. During the three hundred years of the Shang Dynasty, the early force of the pen is majestic, the middle of the pen is sparse, the late fly-head small capitals" style.

Jinwen Calligraphy

Shang Zhou and the Warring States period engraved in the bell and tripods and other bronze, inscriptions on weapons, including coins minted on the text, collectively referred to as the Jinwen. This is the beginning of the conscious pursuit of artistic beauty in the writing of words, so that the beauty of the text and the decorative pattern of the bronze is integrated, the inscription is mostly round pen, highlighting the beauty of the flowing curve.

Qin calligraphy

Qin Dynasty book to the most representative of the "Stone Drums Wen", which is the beginning of the Tang Dynasty in Shaanxi Fengxiang unearthed ten carved stone, each about three feet high, two feet in diameter, engraved around the text, describing the Qin king of the hunt, the original text of more than 700 words, more than two hundred words are now extant. The script is in big seal script with rounded strokes and neatly arranged, which was the popular pavilion book at that time. After the Qin Dynasty unified the six states, it standardized the script, based on the script of Heshi, and simplified the script to produce the small seal script, which was widely used in the whole country. In 1975, the excavation of Yunmeng Qin Jian in Hubei Province showed that the official script had already risen in the Qin Dynasty. The official script is straight and square, and it is easier to write than the seal script which is rounded and curved.

The calligraphy of the two Han Dynasties

The calligraphy of the Han Dynasty was based on the official script, and the official historian who was good at writing official script was called the "official historian", which is why people in the Han Dynasty called the official script "official script", except for a few engraved stones and seal seals, which were still used in the seal script, and the official script became the prevailing script in the Han Dynasty. Due to the requirements of use and aesthetics, the "eight points" were created in the form. In the history of calligraphy, the unique Han Li was formed. Han Li's further development, to the end of the Eastern Han Dynasty and the "side" (point), "swept" (long), "way" (straight hook), "peck" (short), the structure tends to be more neat, and gradually formed the regular script, the so-called "today's Li". East Han Dynasty, the formation of a variety of schools, such as the positive trend of the body of the Fangzheng school; with a strong pen straight school; write with the end of the millimeter of the fiber strength school; staccato flying gorgeous school; with a flat pen to put the Pingzhan school; just soft and delicate show of the school; the word big heavy XiongZhuang school; fluffy and chic Penyi school and so on, a variety of styles, a wide range of styles, reflecting the people's preferences for calligraphy and the prosperity of the art of calligraphy.

Wei and Jin Calligraphy

Wei and Jin Calligraphy inherited the solid foundation of Han Dynasty calligraphy, and further development, especially in the Jin Dynasty, can be compared with the Tang poetry, Song poetry, Yuan dynasty song, more than 150 years, the calligrapher of nearly two hundred people, can be called the peak of the art of calligraphy. The famous Wei Bei, with new creations in brushwork and structure, is written in a bold, strange and lively style, clearly demonstrating the incremental change from the official script to the regular script. The brand-new style represented by Wang Xizhi has reached the realm of peace and naturalness, dashing and timelessness. The Orchid Pavilion Preface is so expressive and unrestrained that it has become the most outstanding masterpiece, which has epoch-making significance in the history of calligraphy.

Sui and Tang Calligraphy

Sui-Tang Calligraphy along with the revival of the monument, and once again a new high. Performance in the pursuit of the art of robust and strong beauty, a change in the Eastern Jin Dynasty and the Southern Dynasties of the calm and soft charm, the formation of the characteristics of Tang Dynasty calligraphy. Famous calligrapher Ouyang Xun's style, structure and precision; cursive calligraphy, Zhang Xu, the power of the strange flying; Yan Zhenqing's book, robust and majestic; Liu Gongquan's pen showy and charming; Huaisu's "wild grass" magnificent, they all created a new realm in the history of calligraphy, and had a profound impact on the future generations.

Song Dynasty Calligraphy

Song calligraphy compared with the Wei, Jin and Tang dynasties lack of distinctive features, which is due to the prevalence of the Thessalonian school, writers are limited to the results of the conservative. Yuanfeng years, the famous four Cai Xiang, Su Shi, Huang Tingjian, Mi Fu advocated the removal of postalism after the revitalization of the Song calligraphy more emphasis on the "meaning" of the free play, emphasizing the expression of personal feelings, which breaks through some of the rigidity of the format, beyond the fence of the predecessor, the emergence of a number of fine works.

Yuan, Ming and Qing calligraphy

Yuan, Ming and Qing dynasties of calligraphy basically along the Wei, Jin, Tang and Song style development, many calligraphers, personal achievements have more than the previous, but there is no groundbreaking calligraphy. The calligraphy of the Yuan, Ming and Qing dynasties has been unable to surpass that of the Jin and Tang.

Calligraphers through the ages (Eastern Jin Dynasty)--Wang Xizhi

Wang Xizhi (303-361, a 321-379), calligrapher of the Eastern Jin Dynasty, the word Yishao. Originally from Langya (now Linyi, Shandong), he lived in Huiqi Shanyin (Shaoxing, Zhejiang). He was a general of the Right Army and the inner historian of Huiji, and was known as "Wang Ruijun" (王右军). Wang Xizhi was born in the famous families of the two Jin dynasties. When he was twelve years old, Wang Xizhi was taught the theory of brushwork by his father, who "taught him the outline of brushwork, and then he realized something". When he was a child, he learned calligraphy from Mrs. Wei, a famous female calligrapher at that time. Later, he traveled across the river to the north to visit the famous mountains and learned from all the masters. He learned cursive from Zhang Zhi, and formal calligraphy from Zhong Qiao. He studied and learned from "a wide range of styles" and reached a high level of "excellence and excellence in the ancient and modern worlds".

Compared with the two Han dynasties and the Western Jin Dynasty, Wang Xizhi's style of writing is characterized by its delicate brushwork and varied structure. Wang Xizhi's greatest achievement lies in the increase and loss of ancient methods, changing the Han and Wei simple style of calligraphy into a delicate brushwork, beautiful calligraphy. Cursive thick and slender folded in the middle of the book, the book is clever and dense, the book is strong and natural, in short, the writing of Chinese characters from the practical to introduce a kind of focus on technique, pay attention to the realm of interest, in fact, this is the awakening of the art of calligraphy, marking the calligrapher not only to find the beauty of calligraphy, but also able to express the beauty of calligraphy. There is almost no calligrapher who has not copied Wang Xizhi's posters, and thus has the reputation of "Sage of Calligraphy". His regular script, such as "Le Yi", "Huang Ting Jing", "Dongfang Shuo painting praise" and so on "in the Southern Dynasty that is popular", has left a variety of legends, and some even become the subject of painting. His cursive writing was also honored as the "Saint of Cursive". No original survives, calligraphy engraved books are many, there are "seventeen posts", lowercase Le Yi theory, Huangting Jing, etc., facsimile ink outline filled with the hole in the post, the Lanting Preface [Feng Chengsu facsimile], fast snow when the sunny post, frequent mourning post, mourning post, far from the eunuchs post, Auntie post, peace and quiet, such as the three orange post, cold cut post, line Rang post, and the Tang monks Huairen Jishu "Preface of the Sacred Teachings", and so on. His "Lanting Preface" calligraphy is robust and strong, end of the show fresh, pure and natural. Is Wang Xizhi's life masterpiece, since ancient times. Known as the world's first line of calligraphy!

Calligraphers through the ages (Tang Dynasty) - Ouyang Xun

Ouyang Xun, the word letter, Tanzhou Linxiang (now Changsha, Hunan Province) people. The world called Ouyang rate more. The world called his characters "Shigeige style". Yu Shinan said that he "could write as he wished without choosing pen or paper". Moreover, he could write a good hand of official script. In the fifth year of the reign of Zheng Guan, the monument of Fang Yanqian, the governor of Xuzhou, is a work of his official script. His calligraphy, to the official script is the most. Study of its pen, round and both the strong and dangerous craggy, "if the grass in the snake, the clouds between the electric hair. And like the King Kong angry eyes, Rex waving fist." Among them, the vertical hooks and other strokes are still scribes. He wrote the Inscription of the Relic Pagoda of Zen Master Yi of Huadu Temple, the Stele of Yu Gong Gong Wen Yanbo, and the Stele of Huangfu Duan, which is known as "the first regular script of the Tang Dynasty". His Regular Script has a very serious program for both brushwork and stylization, making it the easiest for beginners to learn. The "36 Methods of Ouyang's Styles", which have been handed down by later generations, are the rules of styling that have been summarized from his Regular Script. His Regular Script "Zhang Han Si Perch Paste" is long and strong. The ink handwriting has been handed down to the world and is especially valuable. Ouyang Xun's son, Ouyang Tong, has a family history of calligraphy. Both father and son are famous in the calligraphy world, known as the "big and small Ouyang". Little Ouyang, "Dao Yin Venerable Master's Stele", the official meaning is stronger, but the sharpness is too exposed, less subtle than his father.... Yu Gong Gong Stele", the full name of "Tang, the late Special Advancement Shangshu right servant on the column Yu Gong Gong Gong Wen Gong Stele", Ming Zhao Han "Graphite Engraving Hua" commented: "The words of this stele than the" Huangfu "," Jiucheng "good small, and the calligraphy is neat, not in the two monuments." And sighed: "Shixin" more intense, but sharp Ying too exposed, subtle than his father. And sighed: "when the letter of this has more than eighty, and the calligraphy is so exquisite."

Calligraphers (Tang Dynasty)--Yan Zhenqing

Tang Jingzhao Wannian, the word Qingchen. He was a scholar of Kaiyuan, and moved to the Imperial Palace, where he was detested by Yang Guozhong, and became a governor of Pingyuan, which is why he was known as Yan Pingyuan. An Shi Rebellion, Yan resistance to the thieves have merit, into the capital successive Minister of the Ministry of Justice, the Crown Prince, sealed Lu County, the Duke of Kaiguo, so also known as Yan Lu Gong. Dezong Li Xili rebel, Chancellor Lu Qi hate to make the real Qing to persuade, for Xili stayed, loyal and unyielding, was hanged.

Zhenqing for the Langya clan descendants, family learning, work in the letter; from Chu Suiliang, Zhang Xu got the penmanship, its regular script dignified and majestic, the momentum of the open, the line of the book of Thuja Shu and, a change in the ancient method, a style of its own, known as the "Yan style". Song Ouyang Xiu commented: "Yan Gong book such as loyal ministers, martyrs and moral gentlemen, its dignity and respect, people are afraid of the first time, but the longer and the more lovely. His calligraphy is like that of a loyal official, a martyr and a moral gentleman, whose dignity and respect are feared at first sight, but become more and more lovely after a long time.

The Oriental Shuo Painting Praise", "Duo Bao Pagoda Stele", "Yan Qinli Stele", "Ritual for Nephew", "Ode to ZTE", "Ma Gu Xian Tan Ji", "Yan Temple Stele", "Scramble for a Seat", "Self-authored Confessions", and so on, are all his masterpieces.

The Manuscript of Offering Nephews and Nephews, Yan Zhenqing's ink handwriting in running script. The Yuan Dynasty Xian Yushu commented this post as "the second running script in the world". In the authentic handwriting of this post, all the thirsty strokes and draws are visible, which can make people see the process of the line of strokes and the wonder of the change of strokes, which is of great benefit to the study of running cursive script. The original is now in the National Palace Museum in Taiwan.

Calligraphers through the ages (Tang Dynasty)--Liu Gongquan

Liu Gongquan, with the character of Chenggang, was a native of Huayuan (present-day Yaoxian County, Shaanxi Province) in Beijing. At the beginning of the Yuanhe period, he was a scholar who served as a school scholar, a minister, and a prince, and was known as Liu Shaoshi (柳少师). He lived in the middle of the Tang Dynasty, through the Mu, Jing, Wenzong three dynasties, at this time, the Tang Dynasty calligraphy reform movement is basically high into the era of the mission given to Liu Gongquan is not to open up but to keep the success of the Liu Gongquan's historical achievements is that he used the spirit of creativity to undertake the achievements of Yan Lugong, to achieve the "Yan tendons and willow bones" of the historical theory of the top, for the Tang Dynasty calligraphy style construction put a perfect conclusion. The Old Book of the Tang Dynasty says: "The Old Book of the Tang Dynasty states that According to the Old Book of Tang, "Gongquan studied Wang Shu for the first time, and then read the calligraphy of the recent generations, which was so strong and beautiful that he formed his own style. At that time, when the ministers and ministers were not allowed to write in Gongquan's handwriting, people thought that it was unfilial. Foreign barbarians into the tribute, all signed currency, said this purchase Liu Shu." He learned the Yan character, but was able to create his own new ideas. The world called "Yan tendons and Liu bones", pointing out the differences between their calligraphy. Liu character avoided the Yan character fat vertical paintings, the horizontal and vertical paintings written in a largely uniform and thin hard. He also drew on the strengths of the Northern Tablet in which the square strokes are chopped off and angular, and wrote the dots and drawings as sharply and y as the knife cuts. He also drew on Yu, the tightness of the European Regular Script, Yan Zhenqing Regular Script, the vertical force, wrote a unique Liu style.

Calligraphers of the Sung Dynasty (Song Dynasty)--Huang Tingjian

His name was Lu Zhi, and he was known as Shan Gu Taoist and Fulong, a native of Xiushui, Jiangxi Province. Later generations called him Huang Shangu. The History of Song? Literary Garden Biography" said he: "Tingjian learning and writing, heavenly nature, Chen Shidao said that his poems in the style of Du Fu, good cursive, regular script is also a family of its own. With Zhang Lei, Chao Jianzhi and Qin Guan, he traveled to the door of Su Shi, and was known as the Four Bachelor." He himself said, "I have been learning cursive for more than thirty years, and at the beginning I took Zhou Yue as my teacher, so I have been shaking the vulgarity for twenty years and not getting rid of it. Late Su Caiweng, Zi Mei book to see, is to get the ancient penmanship. Later, he also got Zhang Changshi, Huai Su, Gao Xian ink, is a glimpse of the brushwork."

His running script, such as "Pine Wind Pavilion", "Su Shi cold food poem trek", with the pen, as Feng Ban "Blunt Yin Miscellany" said: "The pen from the painting, back to the left wrist, the actual painting to the right residence, but then jumped, just as the clouds of the encounter with the wind, and to the but also back." His starting point for the right first left, from the painting of the hidden edge of the reverse into the left staccato, and then flat out, "no flat is not Pei", the next pen with the intention of change; the closing point of the return of the hidden edge of the Ying. He is good at hiding his strokes, paying attention to the staccato, and using the "bamboo-painting method of writing" to give people a feeling of "calmness and pain". Its form from the Yan Lu Gong "eight Guanzhai will be reported to the record" to, in the Palace of tightening, from the center to the outside as a radial, longitudinal and horizontal escape, such as swinging oars, such as supporting the boat, the spirit of the grand, lofty. His personality characteristics are very significant, learn his calligraphy should pay attention to the "calm and painstaking" and the stylization of the point of the pen and the stretching of the generous. As for his cursive script, Zhao Meng Chi said: "Huang Taishi's calligraphy, get Zhang Changshi round and strong flying meaning." "Like a high and elegant person, it is admirable to look at it." Let's look at his "flower gas poem" pen power, clumsy than skillful, fat pen has bone, thin pen has flesh, "perversion vertical and horizontal, strong as flying". Its beauty is no less than the regular script. Invitation to the seat of the post" "the strokes of the floating and elegant" is a rare masterpiece.

Calligrapher (Song Dynasty)--Wang Anshi

Wang Anshi (1021-1086), the character Jiefu, the late name of the old man in the mountains, Fuzhou Linchuan (now belongs to Jiangxi). He was a politician, writer and thinker of the Northern Song Dynasty. Wang Anshi's calligraphy was simple and far-reaching, and he was y impressed by the brushwork of the Jin and Song dynasties, which was often imitated by Tudai. Fern Sutra, paper, 29.9 centimeters in length, in regular script, where the two joints, the sutra counts 72 lines, lines ranging from 23 to 36 characters. The Fern Yen Sutra, translated by the Tang Emperor Bonjaminiti. Ten volumes. Wang Anshi excerpts from which Guanshiyin sends out the wonderful ear gate from hearing and thinking. This volume, in the middle of the main script, there is a line of calligraphy, light ink and fast writing, brush strokes clear and strong, although the line is close, few blanks, but no sense of dazzle. It is now in the Shanghai Museum.

Calligrapher of All Ages (Song Dynasty)--Su Shi

The Chinese character Zizhan, known as Dongpo Jushi, was a native of Meishan (now part of Sichuan). He, his father Su Xun, and his younger brother Su Zhe were famous for their poetry and literature, and were known as the "Three Su". His calligraphy drew nourishment from the "Two Kings", Yan Zhenqing, Liu Gongquan, Chu Suiliang, Xu Hao, Li Beihai, and Yang Ningshi, and endeavored to innovate on the basis of inheriting the tradition. He said of his own calligraphy, "the method of making words, knowledge shallow see narrow learning is not enough, the three ultimately can not be all the wonderful, I am the heart of the eye and hand all get it." He talked about his calligraphy art creation process, said: "I book meaning to create this can't, point and draw the hand annoying push." He emphasized on writing "meaning", and was attached to the points and paintings written by his "trusty hand". On the basis of his deep understanding of the art of calligraphy, he uses traditional techniques to create calligraphy, and enriches and develops traditional techniques in the creation of calligraphy, instead of simply and mechanically modeling the old. He used a special method different from others in the method of holding the brush, and also paid attention to the reform of writing tools. His masterpieces include "The Post of Dark Clouds in the Sky", "The Fugue of Spring Colors in Dongting", "The Fugue of Pine and Mash in Zhongshan", "The Post of Spring", "The Poem of Love of Wine", "The Poem of Cold Food", "The Poem of Shuzhong", and "The Record of Drunken Weng Pavilion", and so on.

Huangzhou Cold Food Poem Post by Su Shi. It is a masterpiece of Su Shi's running script. This is a poem, Su Shi was relegated to Huangzhou, the third year of the cold food festival issued by the sigh of life. The poem is written in a cool and sentimental style, expressing Su Shi's feelings of despondency and loneliness at this time. The calligraphy of this poem is also exactly in this mood and situation, have a feeling and out. Throughout the calligraphy of the ups and downs, brilliant, unrestrained, and no absurdity of the pen. Huangzhou cold food poetry post" in the history of calligraphy has a great influence, known as "the world's third line of calligraphy", but also Su Shi calligraphy works in the best.

Calligrapher (Song Dynasty)--Zhao Meng 頮

The character Zi'ang, known as Xuesong Daoren (雪松道人), and Crystal Palace Daoren (水晶宫道人), was a native of Huzhou (Wuxing, Zhejiang Province). He was a descendant of King De Fang of Qin, the son of Emperor Taizu of Song. After the fall of the song, return to his hometown to live in idleness, and later by Yuan Shizu conscription, through the five dynasties, the official to the Hanlin scholar Chengji, Ronglu Daifu, sealed Wei State Duke, posthumously Wenmin. He was good at seal script, official script, regular script, running script and cursive script, and was the best in ancient and modern times. He is the author of Songxuezhai ji (Collected Works of Songxuezhai). Zhao Mengjian was a very influential calligrapher in the early Yuan Dynasty. According to the biography of the Yuan Dynasty History, "Meng Zhi's seal scripts were pre-eminent in ancient and modern times, and his calligraphy became famous all over the world". The praise was very high. According to Song Lian of the Ming Dynasty, Zhao's calligraphy in his early years was based on Siling's (i.e. Song Gaozong Zhao Jiu) book, which was "a wonderful comprehension of the eight methods and a reminder of ancient elegance", and in his middle years he learned from "Zhong Yao and Xixian's families", and in his later years he studied under the tutelage of Li Beihai. In addition, he also studied the Ding Ding Stele of the Yuan and Wei Dynasties, as well as the Tang Dynasty's Yu Shinan and Chu Suiliang, and collected the great achievements of all the schools of the previous generation. As Wenjia said: "Wei Gong in the calligraphy of the ancients of the best, no imitation of learning". Therefore, Zhao's ability to obtain such achievements in calligraphy is inseparable from his ability to absorb the strengths of others. What is particularly valuable is that most of the calligraphers of the Song and Yuan dynasties only specialized in running and cursive styles, but Zhao Meng 頮 was able to study all styles. His writings were the best of his time, and he was also well versed in Buddhism and Laozi. There were many later generations who studied Zhao Meng 頮's calligraphy, and Zhao Meng 頮's characters were very popular in Korea and Japan. Zhao's Regular Script also has some excellent works, such as "The Record of the Three Gates", which has a broad, deep and stable form, and the strokes are sound and rounded, which is the most suitable for use as a character post. Most of Zhao's works are in regular script, and most of them are well-written and have a rigorous character structure, such as the Red Cliff Fugue, which is a classic work.

Calligraphers through the ages (Ming Dynasty)--Tang Yin

Tang Yin, one of the Four Great Masters of the Ming Dynasty, was regarded as the first scholar of Jiangnan in the middle of the Ming Dynasty. He was an erudite and versatile artist who composed poems, was good at calligraphy and good at painting, and had a difficult experience. He was an outstanding painter in the history of painting in China.

Tang Yin word Bohu, more word Zi Ai, number peach blossom nunnery, Lu Guo Tang Sheng, escape Zen immortal history, Nanjing Xieyuan, the first Jiangnan style talent and so on. In his later years, he believed in Buddhism, and was known by the alias of "Six Ru Jushi". Wu County (now Suzhou, Jiangsu Province). Tang Yin was born in a merchant family, the status is relatively low, in the world, "family name" dominated, study hard, 11 years old on the excellent literary talent, and write a good hand. 16 years old in the Xiu Cai, 29 years old to participate in the Nanjing Yingtian Township Examination, won the first "Xie Yuan".

Tang Yin's calligraphy was covered up by the name of painting, and he mainly learned from Zhao Meng, who was even more influenced by Li Beihai, who was handsome and elegant, charming and graceful, and his strokes were rounded and sprightly, but he was a little bit weak in his strokes, and his hooks and picks were soft, and his structure tended to be a little loose. Therefore, Wang Shizhen said: "Bohu into the Wu Xing Hall, poor weak ear."

Calligrapher (Qing Dynasty)--Deng Shiru

Deng Shiru, Anhui Huaining people, formerly known as Diem, the word Shiru, the number of stubborn, finish white mountain people, because to avoid the name of the Qing Renzong taboo, so the word line. Born in the door of the poor, the ancestors of the "potential virtue not to show" character and "learning line solid" academic and untamed character of his growth has the effect of subtle influence. 20 years old or so began a lifetime of travel career, wandering the countryside, looking for teachers to visit friends everywhere. His life, accompanied by hard work and self-motivation, devoted to the art of the whole life content is almost "traveling" two words. Do not seek publicity, do not adore glory, not moved by external objects, not into the civil service, and always maintain the nature of the cloth, which is a pure artist I do what I want, free and easy "free" life.

Deng Shiru's calligraphy was highly evaluated by the people of the time, and he was called "the best in all four styles, the first in the country", and his calligraphy was the most outstanding in seal script, and his achievement in seal script lay in the Small Seal Script. His small seal script was modeled after Si and Bing, with a slightly longer form, but he creatively incorporated the brushwork of the official script into it, boldly using a long and soft brush, lifting, pressing and undulating, which greatly enriched the brushwork of the seal script, especially in his later years, with rounded, thick and majestic lines, reaching a perfect state of perfection, creating a typical seal script of the Qing Dynasty, and making a monumental contribution to the development of the art of the seal script. The Clerical Script, on the other hand, has benefited a lot from the long practice of immersing himself in the Han Dynasty monuments, and he is able to write the Clerical Script with the meaning of the seal, and with the strength of the Wei Dynasty monuments, so that his style is naturally unique. The Regular Script did not start from the Tang Dynasty Regular Script, but traced back to its origin and directly took the method of Wei Bei, mostly using square strokes, strokes that imply the meaning of the official script, and not using the horizontal light and vertical heavy, the left low and right high to take the yinmei method, but rather to seek for the plainness, the ancient mauve and simplicity, which is not compatible with the popular style of the Pavilion and shows the spirit of courage to explore. Comparatively speaking, his cursive script is not as powerful as his seal script, which is the opinion of most people, so I will not repeat it here. Deng Shiru's seal carving art is also worthy of a large book, stay in the ancient seal carving and then discuss with you.

Calligraphers through the ages (Qing Dynasty)--Wu Changshuo

Famous calligrapher and seal carver in the late Qing Dynasty. Formerly known as Junqing, his character Changshuo, alias Bitter Iron, was a native of Anji, Zhejiang Province. When he was a young man, he was inspired by his father, and he was fond of making books and seal engravings. His Regular Script, first learned from Yan Lugong, then learned from Zhong Yuanchang; Clerical Script, learned from Han Shiqi; Seal Script, learned from Shi Guwen, the use of brushwork was first influenced by Deng Shiru, Zhao Zhiqian and others, and then later in the writing of the "Stone Drums" in the fusion and adaptation. Sha Menghai commented: Mr. Wu tried his best to avoid the state of "taking the trend from the side" and "holding the heart and caries the teeth", and rubbed the three kinds of characters of bells and tripods and pottery into his writing, so he was much more brilliant than Zhao Zhiqian. Wu Changshuo's running script, get Huang Tingjian, Wang Duo pen force of the interjection, Huang Daozhou of the chapter, in which the Northern Tablet and seal script style and the influence of the seal pre-Han brush, big ups and downs, Thuji Junwei.

Calligrapher (modern) -- Li Shutong

Li Shutong, Hongyi Da Shi young name Chengqi, school name Wentao, the word Shutong, pen names and aliases, up to more than 250. Ancestral home in Pinghu, Zhejiang Province, was born in Tianjin. He is a famous calligrapher, painter, seal carver, musician, dramatist, educator, poet, scholar, a pioneer in Sino-Japanese cultural exchanges, one of the top ten Chinese painters and calligraphers in the twentieth century, and the eleventh patriarch of the Nanshan Ruling Sect. He was one of the top ten calligraphers and painters in China in the twentieth century, and the eleventh patriarch of Nanshan Ruling Sect. The fact that he combined many disciplines into one and reached the highest level of excellence is unprecedented in China's 5,000 years of history, and he has left the world with endless spiritual wealth to chew on. His life is a typical figure of China's splendor to the extreme and return to the plain, but also a wondrous talent, renowned in the world.

Li Shutong was a brilliant young man who lost his father when he was five years old and learned famous poems and maxims from his mother Wang. At the age of ten, he began to read the classics and history, and later learned poetry, painting and calligraphy, and seal cutting from Tang Jingyan and Zhao Youmei.

Mr. Li Shutong's calligraphy has long been renowned in the modern Chinese calligraphy world, and Lu Xun, Guo Moruo, and other modern cultural celebrities would be honored to receive a calligraphy from the master. Mr. Li Shutong's calligraphy is divided into two periods, the first period before he became a monk, and the second period after he became a monk.

Wang Xizhi (303 AD - 361 AD) Eastern Jin Dynasty calligrapher, the word Yishao, the number of Tansai, Han nationality, ancestry Luangya Linyi (now belongs to the Shandong Province), and then moved to Wuxi, the late years of living in seclusion of the Golden Hepatite.

Ouyang Xun (557-1641), Tang Dynasty, Han Chinese, Tanzhou Linxiang (present-day Changsha), the word Xinben, one of the four great masters of the famous Regular Script in history.

Yan Zhenqing (709-784, one says 709-785), character Qingchen, Han nationality, Tang Jingzhao Wannian (present-day Xi'an, Shaanxi Province), ancestry Tang Langya Linyi (present-day Linyi, Shandong Province), Chinese calligrapher of the Tang Dynasty. He was an outstanding calligrapher of the mid Tang Dynasty. He created the "Yan Style" of Regular Script, which he called the "Four Greats of Regular Script" together with Zhao Mengfu, Liu Gongquan and Ouyang Xun. He was also known as "Yan Style and Liu Style" with Liu Gongquan and Ouyang Xun.

Liu Gongquan (778-865), the character Cheng Hang, was a famous calligrapher of the Tang Dynasty, a Han Chinese, and a native of Huayuan, Jingzhao (present-day Yaozhou District, Tongchuan City, Shaanxi Province). Liu Gongquan was a member of the Han nationality and a native of Huayuan, Jingzhao (present-day Yaozhou District, Tongchuan City, Shaanxi Province). Liu Gongquan's calligraphy was famous for its regular script, and he was on a par with Yan Zhenqing, known as Yan Liu.

Su Shi (1037-1101) was a writer and calligrapher of the Northern Song Dynasty.