Becoming a monk since childhood, spending his leisure time in Zen, and loving calligraphy. He is as famous as Zhang Xu, known as "Dian Zhang Kuang Cao", which formed the coexistence of two peaks of calligraphy in the Tang Dynasty, and also the two peaks in the history of cursive script in China. Huai Su's cursive script is thin and vigorous, flying naturally, like a whirlwind of showers. Calligraphy is ever-changing, ever-changing and has statutes. Professor Peking University and pioneer Li Zhimin commented: "Huai Su's cursive script has a delicate and graceful god in the escape and an innocent air in the wild."
Calligraphy works handed down from ancient times include autobiographical notes, bitter bamboo shoots, Notre Dame notes, essays on books, a thousand grasses and so on.
Basic introduction Real name: Huai Su alias: Cao ShengziNo.: Tibetan treasure era: Tang nationality: Han nationality birthplace: Lingling, Yongzhou Birth time: 737 (or 725) Death time: 799 (or 785) Main works: autobiographical notes, bitter bamboo shoots, fish eating notes Main achievements: cursive occupation: monk. Belief: Life stories of Buddhist figures, major works, evaluation of figures, historical records, artistic features, kinship, anecdotes of figures, commemoration of future generations, life stories of figures. When Huai Su was ten years old, his parents couldn't stop him. After entering the Buddha, he changed his words to conceal the truth, and was called "Lingling monk" or "Shi Changsha" in history. The family is poor and can't afford paper, so we have to practice calligraphy on the walls, clothes, utensils and banana leaves of the temple; In order to practice calligraphy, I also made a paint tray. Huai Su studied calligraphy when Huai Su was young, calligraphy was "unlearned". According to the inheritance of China's brushwork, he is still "illegal" and still dissociated from orthodox calligraphy. In the second year of Gan Yuan (759), in his later years, Huai Su went to Li Bai to write poems. They are similar in temperament, and Li Bai loves talents and wrote a cursive script for him. In the first year of Tang Baoying (762), Huai Su set out from Lingling, took Wan Li Road, visited his teacher and friends, and passed through Hengyang and Ketanzhou. In the first year of Tang Baoying (763), Huai Su began to go north to Yuezhou (now Yueyang, Hunan). In the first year of Tang Dali (766), Huai Su wrote eight autumn poems. The book style of Huai Su's post is not yet mature, and his heart is also in the stage of hesitation. Whether it is starting, holding or collecting a pen, it is far from the threshold of Jin people. In the second year of Tang Dali (767), Huai Su went south to Guangzhou to learn painting from Xu Hao. When Xu Hao went to Guangzhou as the secretary of the Secretariat, the purpose of this trip was not achieved. In the winter of the same year or in the spring of three years, Zhang Qian returned to Beijing as the son of Prince Zuo Shu, so Huai Su went to Beijing with Zhang Qian. I was lucky enough to see the works of Wang Xizhi and Wang Xianzhi, and I also enjoyed the Cao E Monument. I spent about five years in Chang 'an and Huaisu. In the spring of the third year of Emperor Taizong's reign (768), Huai Su "traveled west to China to visit contemporary celebrities" and traveled in Hengyang with Wang Yong and others. At that time, Zhang Qian, who was demoted as the secretariat of Tanzhou (Changsha), returned to the DPRK to resume his post, and Huai Su joined Qin with his companions. After entering Beijing, he met Zhang Xu's disciple Wu Tong and worshipped him as his teacher. Wu Tong explained to Huai Su the miracle of Zhang Zhi's Linchi, Zhang Xu's cursive script and Wang Xianzhi's calligraphy. When he left, Wu Tong taught Huai Su the word "enlightenment". In the sixth year of the Tang Dynasty, Huai Su's mother was very ill and went back to her hometown to visit at the beginning of the twelfth lunar month, waiting for the decoction. Huai Su returned to Beijing after his pilgrimage. In the seventh year of the Tang Dynasty (772), around September, Huai Su returned to his hometown, bypassed Luoyang, the capital of the East, and visited Yan Zhenqing. Yan Zhenqing taught Huai Su "twelve strokes", that is, "pointing horizontally, pointing vertically, between fingers and near fingers", and told Huai Su that he had traveled to Chang 'an in his twenties and studied under Zhang Xu for two years, but his brushwork was somewhat unstable. Yan Zhenqing also wrote "Preface to Master Huai Su's Cursive Music" for Huai Su. In the 11th year of Tang Dali (777), on August 6th, he wrote a self-narrative post. This article sums up the main deeds of his life. In Autobiographical Notes, Huai Su left room for several important people who taught him art. In the third year of Tang Zhenyuan (787), Huai Su and Lu Yu met and intersected. Lu Yu wrote Biography of Monks in Huai Su, which is the first-hand information for studying Huai Su. In the 15th year of Tang Zhenyuan (799), Huai Su returned to Lingling and wrote "Qianzi Grass". Spent his later years in Baoyuan Temple in Chengdu, Sichuan. In the fifteenth year of Tang Zhenyuan (799), he died of rheumatism. The cursive works include Autobiographical Notes, Notes on Bitter Bamboo Shoots, Notes on Eating Fish, Notre Dame Notes, Essays on Books, Thousand-character Grass, Thousand-character Grass, Forty-two Chapters, Thousand-character Classics, Notes on Treasuring Treasures, Notes on Fagong, Seven Notes and North Court. "readme post" and "readme post", paper book, 28.3 cm long and 755 cm wide; 126 lines, 698 words in total. Li Dongyang's seal script before the post begins with the words "hide the truth and tell a story". The original is now in the Palace Museum in Taiwan. Self-narrative posts are the representative works of Huai Su's cursive script. The first six lines are said to have been written by the collector of this post (Song). Compared with those below the seventh line, there is a world of difference, and it is even more obvious to open the whole volume and overlook it. The whole article is wild grass, with the pen in the middle and the vertical and horizontal oblique straight; Echo up and down, in one go. The self-report post (partial) Qianzicao Qianzicao was written in the fifteenth year of Zhenyuan (AD 799). There are many kinds of thousands of Chinese characters in Huai Su, among which "Xiao Zhuan Zhen Yuan Edition" is the most famous, also known as the silk book with 1,000 posts, with 84 lines and 1045 characters. This book was written by Huai Su in his later years. In his later years, Huai Su's cursive script changed from a whirlwind of showers to simple and plain, with incoherent words and more vigorous and simple brushwork. It has always been valued by the book forest because it returns to the dull work for glory. Bitter bamboo shoots, made by Cao Sheng Huai Su in the Tang Dynasty, are 25. 1 cm long, 0/2 cm wide and two lines 14, that is, "Bitter bamboo shoots tea is very good and can be obtained by the way. Huai Su ". Wu Qin Qizhen commented: "Calligraphy is beautiful and healthy, and the structure is comfortable. This is a great book for a vegetarian teacher. " Bitter bamboo shoots are the earliest Buddhist calligraphy related to tea that can be tested. Hidden in Shanghai Museum. Bitter bamboo shoots "Lun Shu Tie" and "Lun Shu Tie", cursive ink and paper, 38.5 cm long, 40.5 cm wide, 9 lines, a total of 85 words. Generally speaking, it inherits and develops Zhang Xu's cursive script, so it is called "following the madness". Dong Zhui said in the Postscript of Guang Chuan: "Huai Su is good at calligraphy, and he knows his brushwork from his own words. People who read storytelling in the Tang Dynasty all said that Zhang Xu remained the same. Although it is galloping outside the rope ink, it detours and advances. " "Today, his books call themselves True Zhong (Zhong You) and Cao (Zhang Zhi)." But in any case, Huai Su's cursive script is based on indulgence. However, in the book post, it is quite different from the common cursive script in Huai Su. It is a masterpiece of cursive script, which is "even and steady" and "out of line, absolutely crazy and strange". Han Wo (titled Huai Su cursive screen): Where there is a screen, it is obvious that Huai Su is lying. Although it is full of dust, the ink is particularly thick. Strange rocks rush to the autumn stream, and Han Teng Gu Hangge. If you teach water, you will be afraid of becoming a dragon. Guan Xiu ("Looking at Huai Su's Cursive Songs"): After Zhangdian's ups and downs, it was until Huai Su's ups and downs. Teachers don't talk about Zen and classics, but their strength lies in cursive script. Crazy but afraid of being a fairy, God can help you, stone painting and ink painting must be entered. Golden statues of bamboo leaves are full of fights, half drunk and half wet. Drunk and fierce as a tiger, the powder wall screen does not ask the Lord. General Manager Lu continued the book review and said: Huai Su's cursive script is constantly changing with the help of electricity. An Qi in the Ming Dynasty (commenting on Autobiographical Post): The color of ink paper is wonderful and moving, and the vertical and horizontal changes take place at the extreme, which is mysterious. Huang Tingjian: Zhang Xu is fatter, and hiding is really thinner; These two men are the champions of a generation of cursive scripts. Mi Fei (Haiyue Book Review): Huai Su's books, like the sword of a strong man, are fascinating and moving, but they are always in the festival. Collection of ancient books: Zang Zhen was famous for cursive script at that time, but especially his treasure in this world. Jiang: Only Huai can get the beauty of cursive script. Inexplicable: (Qianzicao) Huai Su's original silk script with thousands of words is unusual in stippling and skillful in technique. At first, it was careless, but it conformed to the pattern, chemical industry and some wonderful words. Book Review by Cen Zongdan: Huai Su is carefree, so she looks like a real fairy. Shen You's Inscription and Postscript of Calligraphy and Painting: Huai Su's book is so wonderful, though ever-changing, it will never leave Wei and Jin Dynasties. Wang Shizhen (Yizhou Mountain Man Draft): (Huai Su's Thousand Articles) ① Every word is immortal and the pen is flying. (2) All the posts of the amateur teacher are detailed, and this book is unique, stable, familiar and wonderful. Wen Peng: (Jing Jie Jing) Gu Zhuo's brushwork is full of energy and there is a sudden storm. He (Banqiao's Love Poem): The method of cereal grass originated in Huai Su, and Huai Su studied in Zhang Changshi. The beauty of it is that there is no trace of beginning and end. The former Zhang (Zhang Xu) and the latter Huang (Huang Tingjian) should be left to Mr. Pingyuan. General Manager Tang Lu (after reading): Huai Su cursive script, with the help of 1000 switches, changes at will. Zhu in the Song Dynasty (continued to break the book): A strong man drew his sword and looked moving. Li Bai (cursive Song Xing): The young master's name is Huai Su, and the cursive name is chinese odyssey. Mo Chi flew out of the North Grilled Fish and killed all Zhongshan rabbits with the pen tip. My teacher was drunk, so he leaned on the rope bed and swept thousands of sheets in a short while. Wind and rain shake the rustling, falling flowers and snow. Stand up, don't stop by the wall. A row of numbers is as big as a bucket. Wandering is like smelling ghosts and gods, always seeing dragons and snakes go far away. The left plate and the right plate are like surprises, and they seem to attack Chu Han. In Qing Yu of Historical Records of Lingling County, Biography of Huai Su Monk, Huai Su's autobiography and Tang Shi's Supplement of Tang Dynasty, the artistic feature of Huai Su's cursive script is called "Crazy Grass", which makes the pen round and powerful, and makes it smooth and unrestrained, just like Zhang Xu. Later generations called "Zhang Dian is a vegetarian" or "alcoholic", which has a far-reaching influence on later generations. He also wrote poems and had contacts with poets such as Li Bai, Du Fu and Su Xun. Good at drinking, whenever drinking rises, regardless of walls, clothes, utensils, arbitrary writing, when people call it a "drunken monk." His cursive script was written by Zhang Zhi and Zhang Xu. Jin Ping Mei said that he was "drunk nine times a day". Perhaps the drunkard's intention is not wine, "crazy monks don't do it for wine, but his goal is" crazy grass " Huai Su's cursive script "Like Huai Su" uses seal script, and the hidden front turns inward, thin and hard, and the pen is quick and powerful. Although it is wild, it has not ignored the law in pursuit of novelty. On the contrary, his cursive script is rigorous and concise, which embodies the unique cursive art style. Huai Su is good at using the pure momentum of the central pen as a big grass, such as "a whirlwind of showers, full of momentum", reaching the realm of "suddenly whistling three or five times, and a thousand words are full of walls". Although the speed is fast, Huai Su can cross the grass with few mistakes. Compared with many calligraphers such as Virgin Mary, Eating Fish, Bitter Bamboo Shoots and Storing Truth, many calligraphers keep the golden method, and many calligraphers have the style of Yan Zhenqing. For example, the thousand-character works of Weeds and Notre Dame are completely different from their crazy styles, which can also be said to be his outstanding points. From the perspective of graphology, Huai Su's calligraphy lines and textures tend to be thin all his life, which is closely related to the bitter and cold aesthetics of meditation. When Huai Su was young, calligraphy was "not learning the ancient". According to the inheritance of China's brushwork, he is still "illegal" and still dissociated from orthodox calligraphy. When Huai Su was twenty-nine, he wrote eight autumn poems. Eight Poems in Autumn is a poem by Du Fu, which was written in the first year of Dali (766), that is, three years after the Anshi Rebellion. The book style of Huai Su's post is not yet mature, and his heart is also in the stage of hesitation. For a "wild fox Zen" or a "base chicken", Huai Su's cursive script is beyond recognition. The calligraphy lines of Baqiu's poems are bloated and contain cowardice. In order to pursue the effect of "single book", it seems far-fetched and gives people the feeling of procrastination. Whether it is starting, holding or collecting a pen, it is far from the threshold of Jin people. Huai Su was a rebel. From the prosperous Tang Dynasty to the late Tang Dynasty, the calligraphy atmosphere in the Tang Dynasty advocated statutes. Wang Xizhi's calligraphy was sought after by Emperor Taizong in the early Tang Dynasty, and people at that time were even more eager. Huai Su doesn't care about contemporary art trends. He made more explorations on "one stroke" and inherited the calligraphy traditions of Zhang Zhi, Cui Gui, Du Du and Wang Xianzhi. If Huai Su's calligraphy in his youth depends on artistic intuition. Then his artistic exploration after the age of 30 is in the artistic tradition. The historical tradition of China's calligraphy is the brushwork inheritance in the history of China's calligraphy, and the brushwork law is the "core secret" of Wei and Jin calligraphy.