Analysis:

abstract

The Tang Dynasty was a glorious period for the development of calligraphy art, and many calligraphers and classic works appeared. Wang Xizhi and Yan Zhenqing are representatives of calligraphy in Tang Dynasty. Their calligraphy art is very creative and has distinctive characteristics of the times, which is a typical representative of the cultural and artistic spirit of the Tang Dynasty.

Keywords Wang Xizhi's artistic characteristics in Yan Zhenqing

Speaking of Wang Xizhi and Yan Zhenqing, two calligraphy masters, we have to start with regular script, because their influence on regular script is an important link in its development. Regular script is one of the main calligraphy styles in China, also known as regular script, regular script, regular script and seal script. Because it is square, it is named model. It came into being at the end of Han Dynasty and prevailed in Wei, Jin, Southern and Northern Dynasties. The Tang Dynasty was the golden age of regular script. Regular script is gradually degenerated from official script after a long period of development and evolution. The characteristics of regular script, on the whole, regular script is rectangular, the structure is closer than official script, and the pen is also very rich and delicate. Writing behavior is also more flexible and convenient than official script. Since its establishment, regular script has replaced the orthodox position of official script. After long-term trial, it is proved to be a script with good combination of practicality and artistry. It has been the official font adopted by the government for thousands of years, and it has also become a big one in the history of calligraphy.

Wang Xizhi, the originator of Wang Xue's calligraphy, was widely circulated by later generations for his unique calligraphy style. We should be aware of many of his masterpieces handed down from generation to generation, such as Huang Tingjing, Yue Yilun, Cao E's injustice, Dong Fangshuo's painting praise and so on. , are all lowercase letters.

The main characteristics of Wang Xizhi's calligraphy are peace and nature, gentle and subtle brushwork, graceful and graceful, and later generations commented that it floats like a cloud, just like a dragon. Wang Xizhi's calligraphy is exquisite and extremely beautiful to watch. In a word, he introduced Chinese writing from practicality to a realm of paying attention to techniques and interests, which marked that calligraphers not only discovered the beauty of calligraphy, but also showed the beauty of calligraphy. Wang Xizhi's greatest achievement is to change the simple calligraphy style in the Han and Wei Dynasties into exquisite and beautiful calligraphy style, which created a precedent for elegant and beautiful calligraphy. A running script copybook, Preface to Lanting, has been praised as the best running script in the world by the calligraphy circle, and has been dumped by people without math books for thousands of years. "Preface to the Lanting Pavilion" has 324 words, each of which has different postures, is round and natural, just like flowing water, elegant and elegant, with delicate bones, beautiful stippling, alternating density and white cloth, and contains extremely rich artistic beauty within the scale. Regardless of horizontal, vertical, point, skimming, hooking, folding and pressing, it can be said that the pen is extremely wonderful. Xiao Yan in the Southern Dynasties said in Comments on the Advantages and Disadvantages of Ancient and Modern Scholars that "Wang Xizhi's calligraphy is full of vigor, such as the sky in Yue Long, and the tiger lies in the phoenix, so it has been treasured in the past dynasties and always thought it was practicing calligraphy. Wang Xianzhi's book is incomparable, and no one can draw it. If Heshuo teenagers are happy, they can't bear it. " Undoubtedly, Wang Xizhi's calligraphy fully embodies the beauty and value of calligraphy.

Yan Zhenqing's regular script can be roughly divided into three stages of development. "Multi-Tower Sensing Monument" and "Dong Fangshuo Painting Collection" are his early works. Its characteristics are: rigorous and distinct, Fiona Fang has both, a little proper limit, and the straightforwardness of the characters takes the opposite trend. The Story of the Sage and Fool Leaving the Pile and the Temple Monument of Guo Jingzhi of Taibao are representative works in the mid-term, which are characterized by taking more circles with pens, drawing thick and thick vertically, and holding back alternately. Yan Bei, Ma Gu Xian Tan Ji (see Figure 2-38), Yan Weizhen Jia Miao Bei and Li Bei are his later works, which are characterized by fine horizontal painting, heavy vertical painting, rich and broad words, calm and square.

Generally speaking, the greatest feature of Yan Zhenqing's calligraphy art is the spirit of innovation. His works are not only numerous, but also diverse and unique. He inherits his predecessors and is good at innovation. The predecessors who adopted the law were able to change the law and bring forth the new. "The ancient law is new, and the new idea is outside the ancient meaning." First of all, in terms of brushwork, Yan Zhenqing changed the characteristics of Wang calligraphers in the early Tang Dynasty, which were mainly finger movements, light and beautiful style, and winning with thinness and hardness. Instead, it increased the use of wrist strength, highlighted the word "Jin", and showed the beauty of "Jin" in calligraphy art, which gave Yan an artistic effect of artificial relief and was quite distinctive. Secondly, in terms of structure, Yan Zhenqing changed the tendency of most calligraphers of Wang School, that is, the left is tight and the right is comfortable, the left is low and the right is high, and the right shoulder is slightly camel-shaped, making it free and easy. In the composition and layout, the size is uneven, the line spacing is narrowed, and the overall layout is full and dense. It is different from Wang Xiaozi's wide-line calligraphy and has a sense of generosity and calmness.

Another feature of Yan Zhenqing's calligraphy is the strong spirit of the times. They are all from the heart, and strong thoughts and feelings are injected into pen and ink. The magnificent face of Yan Shu represents the prosperous times of Li Tang.

References:

[1] Yang Shoujing, learning books [books]. Beijing: Cultural Relics Publishing House.

[2] Ling Yunchao, China calligraphy for three thousand years [book]. Nanjing: Nanjing University Press.

[3] Zhu, and the sequel [text]. Quoted from selected calligraphy papers of past dynasties [books]. Shanghai: Shanghai Painting and Calligraphy Publishing House

[4] Chen Shen, quoted from Yang's Inscription Notes [Book]. Shanghai: Shanghai Ancient Books Publishing House

[5] Wang Dongling, Calligraphy [Magazine] 198 1 No.65438.