[Edit this paragraph] Brief introduction of Chu Suiliang (596 ~ 659), with good words. Originally from Yangzhai, Henan (now Yuzhou, Henan), he moved south to Qiantang, Hangzhou (now west of Hangzhou, Zhejiang) in the late Jin Dynasty. Father Chu Liang, one of the 18 bachelors of Li Shimin Literature Museum, is the King of Qin. Officials are scattered, riding is waiting. [Edit this paragraph] His political life is so good that he has learned literature and history. In the tenth year of Zhenguan (636), the secretary lang was changed to a living lang. He was good at calligraphy and was recommended by Wei Zhi to Emperor Taizong, who was appreciated. Fifteen years, advised Taizong to suspend meditation. In the same year, Huolang moved to persuade doctors. During the Zhenguan period, Emperor Taizong doted on his fourth son, Wang Wei Taiwan, and Sui Liang proposed that the treatment of princes should have certain specifications. In seventeen years, Prince Chenggan was abolished for murdering Wei Wangtai, so Sui Liang and Sun Chang Wuji persuaded Taizong to make his ninth son, King Li Zhi of Jin, a prince (namely, Li Zhi and Tang Gaozong). The following year, Sui Liang was appointed assistant minister of Huangmen and participated in the state affairs. When Emperor Taizong planned an expedition to Koguryo, he held different opinions, especially against Emperor Taizong's personal expedition. Twenty-two years for the secretariat, twenty-three years, Taizong died, called and mowgli as life minister. In the first year of Emperor Gaozong Yonghui (650), Sui Liang bought the land of the target audience of Hanshu at a low price and disintegrated into a secretariat of the same state. In three years, he was recalled as Minister of History and Prime Minister. For four years, he was shot as the right servant of Shangshu. In six years, I wanted to abolish the king and become a queen. He believes that there is nothing wrong with the Queen of Kings being born in a noble family. He strongly opposed the abolition of the legislature, and was therefore demoted to Tanzhou Secretariat, transferred to Guangxi Governor (now Guilin), and demoted to Aizhou Secretariat (now Qinghua, Vietnam). In the third year of Xianqing (658), he died anywhere. [Edit this paragraph] Taizong's artistic life is a duke of Henan, and the world calls it "Chu Henan". Bo dabbled in classics and worked in Li Kai. After Yu Shinan's death, Emperor Taizong sighed: "After Yu Shinan's death, no one can talk to the author!" Wei Zhi recommended Chu Suiliang, saying, "Chu Suiliang's hard writing has won a lot for Wang Yi." Emperor Taizong Bao loved Wang Xizhi's calligraphy and gave him gold and silk. At that time, Wang Shu was sent to Beijing, and it was difficult to distinguish between true and false. Only in this way can you judge and identify, and catalog and hide it within the government. His calligraphy inherited Wang Xizhi's tradition of being soft outside and rigid inside. His skillful brushwork is more important to the world. He, Ou Yangxun, Yu Shinan and Xue Qi are also called "four great masters in the early Tang Dynasty". During the reign of Emperor Taizong, he was very tired as a living lang, an admonisher, an official and a secretary. Later, he was demoted many times and died for opposing the establishment of Wu Zetian in Tang Gaozong. The ink handed down from generation to generation includes Ni Kuanzan, Yin Fu Jing, etc., and the inscriptions include the preface to the sacred teachings of Yanta, the monument to a Buddhist shrine in a que, and the square monument, etc.

In the sixth year of Emperor Wendi of Sui Dynasty (AD 596), Tang Gaozong celebrated the fourth year (AD 659) at the age of 64. Qiantang, Hangzhou, was a famous doctor in the early Tang Dynasty. When Emperor Gaozong was the Duke of Henan, he was called "Chu Henan". His calligraphy was a beginner in Shinan. In his later years, he accepted Zhong You and Wang Xizhi and merged with Han Li to form his own family. Together with Ou Yangxun, Yu Shinan and Xue Ji, they are called the four great calligraphers in the early Tang Dynasty. According to legend, after Yu Shinan's death, Emperor Taizong sighed that no one could discuss books. Wei Zhi praised: "Chu Suiliang's efforts won Wang Yi a reputation." Wei Zhi believes that he has a deep understanding of Wang Zi and has the ability to identify the authenticity of Wang Zi.

The book review in the Tang Dynasty said that his words were: "Words are gold, deeds are jade, rules are Wen Ya, and beauty is more." His preface to the Wild Goose Pagoda has its own method. In this monument, he integrated Yu, Europe and France, and the two were natural. From the perspective of charm, it is catching up with the king, but when it is tied with a pen, it is round and thin.

His calligraphy is not only "quaint and vulgar, thin and hard", but also has a pair of exquisite and magical eyes for calligraphy appreciation. In the twelfth year of Zhenguan in the Tang Dynasty, due to the unfortunate death of Yu Shinan, a famous calligrapher, Chu Suiliang was summoned and appointed as a book assistant.

Once, Emperor Taizong got a scroll of Mo Bao, an ancient man, and asked Chu Suiliang to see if it was written by Wang Xizhi. Chu Suiliang looked at it for a while and said, "This is a fake of Wang Xizhi." Surprised, Emperor Taizong asked Chu Suiliang how he knew. Chu Suiliang asked Emperor Taizong to pick up this book and read it in the sun. Chu Suiliang pointed to the characters "Xiao" and "Bo" and said to Emperor Taizong, "There is a layer of ink darker than the outer layer in the dots and strokes of this small character. Wang Xizhi's calligraphy is so fascinating that there should be no such failure. " Hearing this, Emperor Taizong admired Chu Suiliang's vision from the bottom of his heart.

Since then, Emperor Taizong has collected Wang Xizhi's ink. Whenever it is difficult to distinguish between true and false, he always asks Chu Suiliang to help him identify it. Later, he was ordered to catalogue these precious calligraphy and keep it in the palace.

His handed down works include regular script "Monument to Mencius", "Preface to the Holy Teaching of Yanta" and "A Que Buddhist Shrine".

The Monument to Meng's Family, whose full name is the Monument to Meng's Family, is a combination of Europe and danger, as beautiful and dignified as Europe. Yu Shinan's calligraphy is elegant and relaxed, while Ou Yangxun's calligraphy is vigorous and dangerous. The font is more square and beautiful, and the brushwork is too full of ups and downs. Some words are elegant and dignified, which are representative works of Chu middle-aged calligraphy. Tang Zhenguan was established in the 16th year (642).

The preface to Jigong's holy teachings is also called the preface to Yanta's holy teachings: regular script is Chu Suiliang's masterpiece, and it died six years after it was written. It can also be said that it is a masterpiece left by him in his later years. The font is thin and rich. In the 4th year of Yonghui in Tang Gaozong (AD 653), two stone carvings were erected under the Big Wild Goose Pagoda of Xi Ci 'en Temple in Shaanxi. The front inscription reads "Preface to the Holy Teaching" and the back inscription reads "Record of the Holy Teaching". [Edit this paragraph] mainly represents Ni Kuanzan:

Ni Kuanzan's ink was passed down as Chu Suiliang's book (some people think it is Ou Yangxun's book), but the authenticity is still inconclusive. However, this book is quite ignorant. 50 lines of regular script, 340 words in total. Song Zhao Meng Jian commented on this post: "Yi Rong Wanchang is a book in his later years." Yang Ming Shi Qi commented on the cloud: "Commentators think that words are gold, deeds are jade, and law is Wen Ya, which is beautiful." Zhan Jingfeng said: "Dry but not moist, find the taste of heaven." This post was originally written in Taiwan Province Province.

Wild goose pagoda holy fatwa:

Also known as the preface to Ji' an collection. Every two stones are under the Big Wild Goose Pagoda in Xi 'an, Shaanxi. The full name is Preface to Tang Sanzang, written by Li Shimin of Emperor Taizong and written by Chu Suiliang. Line 18, 42 words. Later, the Story of the Stone, the full name of which is The Story of Sanzang's Holy Religion in Tang Gaozong, was written by Li Zhi and Chu Suiliang in Tang Gaozong, with 20 lines and 40 words, and the right line.

In the pen, Fiona Fang uses it together, and the reverse is the opposite; Horizontal painting is vertical, vertical painting is horizontal, there are ups and downs between the head and tail, and there are certain rules in lifting and returning. Zhang Tang Huai Jin's evaluation of this book is: "The beauty Chanjuan seems to be no less than Luo Qi, and the protagonist is very graceful." Qin also commented: "Chu Dengshan wrote a good book, which looks like the beauty of Luo Qi and looks like copper and iron. This monument is particularly graceful and elegant, and the waves are like gossamer. It can spread out the nuances of turning one by one. The essence of Moeller is the crown of all the monuments in the Tang Dynasty. "

Yin Yin exclaimed:

Da Mo, handed down from generation to generation as Chu Suiliang's book. Paper, 96 lines in regular script, 46 1 word in total. As a book handed down by Chu Suiliang, Yin Fu Jing has been handed down to the world in block letters and running scripts, and the handwriting is very small, so it is difficult to see Lushan Mountain. This post is full of words. At the end, it said, "Letter from Chu Suiliang, the Japanese official." It's probably a fake of the book of learning Chu in the Tang Dynasty. Nevertheless, the big character Yinfu Jing is an exquisite calligraphy. This post not only has the characteristics of Chu-style calligraphy, but also is very similar to "Tang people write classics", and the history of writing classics is naturally simple. Yuanyang is blameless: "The cursive method is ever-changing and has infinite mystery. Today, Chu Zhong ordered regular script to see it, or commented on the clouds. The pen was magnificent and the momentum was ancient. " The stones are all regular script, engraved on Wan Wenshao. Now it has been selected as the original stone rubbings. The preface to the sermon on the Big Wild Goose Pagoda is the most representative work of Chu Suiliang's calligraphy style. The font is beautiful and vigorous, and the brushwork is skillful and mature. Chu Suiliang was old when he wrote this monument, and so far he has created a set of norms for the new Tang Kai. In the word structure, it changed the long characters of Europe and Yu, and created a slim but full font. [Edit this paragraph] Artistic features: studied under Ou Yangxun, Yu Shinan, Wang Xizhi and Han Li. Its characteristics are: the official books are colorful, unique, colorful and changeable. At that time, it was as famous as Europe and Yu, and there were many literati. Yan Zhenqing is also affected by it. The book review of the Tang Dynasty said that the Book of Chu was "rich in words, rich in lines, regular in Wen Ya and beautiful in many aspects." Inscriptions handed down from ancient times include "Preface to the Three Monks in Tongzhou", "Buddhist Shrine for Monks" and "Monument to Mencius".