The Legend of Shushan Xuanjian

Chapter 98 The Forest of Steles
Rolling the Jingjing leisurely, drinking horses out of the Great Wall.

——Excerpt from "Drinking Horses and a Journey to the Great Wall Caves" by Li Shimin
……

It was the first time Bai Fu saw Xuanzong's handwriting, and it was really vigorous.But when he thought of Xuanzong's prejudice against him, he was immediately indignant, and he didn't want to stop and look again.

When Master Xu saw it, he didn't point it out, and continued to explain the next stone tablet.

"The remains of the "Book of Changes" in the Xiping Stone Classic of the Han Dynasty preserve the earliest sentences of the "Book of Changes". According to legend, the great calligrapher Cai Yong wrote it in official script.

……

The two came to Yan Zhenqing's "Duobao Pagoda Sensation Stele", Xu Taifu explained word by word:

"The Induction Monument of Duobao Pagoda" written by Qing Chen is vigorous, powerful, majestic and dignified. The structure of the font has changed from the thin and long shape popular in the early Tang Dynasty to a square shape, with a circle in the square, holy inside and king outside. The brush is thick and powerful, both There are muscles and bones, but also sharpness. This style of calligraphy is majestic and majestic, quite like the atmosphere of the prosperous Tang Dynasty.

Qing officials first learned calligraphy from Chu Suiliang, and later from Zhang Xu.Its block letters are dignified and majestic, and its running script is powerful.

His cursive script is vigorous and vigorous, with a steady structure and flying stippling, which is in line with Geng Jie Houpu's personality. As the saying goes, his writing is like a person, and his writing is like a face. He is known as the "second running script in the world".

His self-created "Yan Ti" regular script has reached the realm of three levels: it is magnificent with spirituality; it is vigorous with soul; it is broad with human birth.

In my opinion, Ou, Yu, Chu, and Xue in the early Tang Dynasty were only the inheritance of Wang Xizhi and Wang Xianzhi, and the Qing officials were the masters who founded the school, and their calligraphy only complemented this magnificent era.As the saying goes, "When you study books, you should learn from Yan Qingchen!"

Let's talk about Qingchen himself, in the 22nd year of Kaiyuan, he was a Jinshi Jiake.In the 24th year of Kaiyuan, he was selected by the Ministry of officials as the school secretary.You see, Yan Zhenqing has also been a school secretary!Ha ha"

Speaking of this, Master Xu made fun of Bai Fu.

Combining calligraphy attainments with life experiences, Bai Fu knew that Taifu Xu was enlightening himself, and was secretly moved.

……

The two then came to the "Preface to the Preface to the Book of Wang Xizhi in Huairen Collection". This monument is about three meters high and about one meter wide.There are thirty lines of inscriptions, ranging from 83 to 88 characters.Xu Taifu pointed to the words on the stone tablet and said:
"This stele is also called "The Preface and Notes of the Holy Religion of the Right Army in the Tang Dynasty". It was written by Emperor Taizong of the current dynasty.

Although "Shengjiao Preface" is composed of a collection of characters, the missing characters are spliced ​​and combined.However, due to Huairen's profound skill and carefulness, he was able to give full play to his own potential, which better reproduced the characteristics of Wang Xizhi's calligraphy - if it is broken, it will be connected, like an oblique upside down, and it will change flexibly.But in the end, it is a collection of characters rather than a coherent one, so there are some shortcomings. Some characters are not coherent enough, the energy is not enough, and the charm is not long enough.

To study Wang Xizhi's calligraphy, you should first read the calligraphy repeatedly.Only by carefully reading "Lanting Preface", "Sangluan Tie" and "Quick Snow and Sunny Tie" and other Wang calligraphy posts, can we understand the key to the layout of his plots, and then we can get a glimpse of the true meaning of his characters.

When writing, you should feel the rhyme of the word "Jungu". When you write, you must have tendons, bones, blood, veins, and flesh. The traces of the strokes of the strokes must follow the strokes. , focusing on stippling, structure and space, and familiarizing the characters one by one, you can write the clear, handsome, quiet, free and easy Fengshen of the character Wang.

The reason why Wang Xizhi's calligraphy is superb is that on the one hand, he has mastered the techniques to the degree of "beautiful and beautiful", on the other hand, his temperament of expressing love for the mountains and forests, and his calm and elegant nature make him never hesitate to use the techniques. Laws, or in the process of pursuing calligraphy, have never been bound by laws.It not only expresses the simplicity and profoundness of Lao Zhuang's philosophy, but also expresses the harmony of Confucianism's doctrine of the mean.

Fu'er, the way of calligraphy is the same, and so is the way of martial arts.The highest achievement in martial arts must come from the warrior's inner cultivation, equipment, knowledge and pattern.Cultivation is the body, technique is the use.It is internalized in the heart and externalized in form.Only when the cultivation base is perfect, can martial arts enter the realm of transformation.As the saying goes, the inner saint and the outer king!

Therefore, any experience in life is an inner cultivation, the more setbacks, the stronger the blessing!This is what suffering gives us meaning. "

　References:
　　1. The materials and descriptions about Ouyang Tong and his calligraphy are excerpted from the corresponding search terms on the Internet
　　2. The materials and descriptions about Yan Zhenqing and his calligraphy are excerpted from searching the corresponding entries on the Internet.

　　3. The materials and descriptions about Wang Xizhi and his calligraphy are excerpted from the search of corresponding entries on the Internet

　　4. Materials and descriptions about "The Preface to the Sanzang of the Great Tang Dynasty", excerpted from "The Preface to the Holy Teaching of the Tripitaka of the Tang Dynasty", translated by Jiang Yin and Xu Hongliu, translated by Xiling Yinshe Publishing House
　　5、《历代碑帖法书选》编辑组．宋拓集王羲之圣教序碑．BJ：文物出版社，2007年9月第一版：44-45
　　6. Zhang Zhihe.Qi Gong Talking Art Record ~ ​​Zhang Zhihe's Notes on Studying Books. BJ: Huayi Press, 2012
　　7. Edited by Tong Haiyan.The second volume of the history of Langya culture.Jinan: Shandong People's Publishing House, 2010: 145
　　8、卢延光绘；吴伯衡编文．中国一百儒士．BJ：中国青年出版社，2013年01月第1版：107
　　9、濮之珍主编．中国历代语言学家评传．上海：复旦大学出版社，1992年01月第1版：130
　　10. Pan Zhongquan. The Three Realms of Yan Zhenqing's Calligraphy. "CNKI"

　　11. Cai Yiping. Looking at Zhushan from the Accumulation of History. "Journal of Huzhou Normal University", 1990
　　
　
(End of this chapter)