Orchid Pavilion Preface Calligraphy Calligraphy Calligraphy
There were many versions of the Preface to the Orchid Pavilion, including Wang Xizhi's original work, Feng Chengsu's copy, Zhao Mengfu's copy, etc. Wang Xizhi's Preface to the Orchid Pavilion was regarded as a model for running script by later generations. Li Shimin, Emperor Taizong of the Tang Dynasty, once ordered Chu Suiliang, Ouyang Xun, Feng Chengsu and other calligraphers to copy several copies and give them to his subjects. In addition, Feng Chengsu and Zhao Mengfu also had their own copies. For beginners, they could choose Feng Chengsu's copy to practice. In addition, there were some copybooks and practice methods for reference, such as practice magnified version, using color printing version, tracing red copybooks, etc. In short, the selection of the Preface to the Orchid Pavilion calligraphy copybook should be decided according to personal preferences and learning needs.
"Preface to the Orchid Pavilion" Calligraphy Works Appreciation
Preface to the Orchid Pavilion was one of Wang Xizhi's masterpieces and was known as the world's first semi-cursive script. This work had a fresh and simple style, and the sentence patterns were rich in changes, reflecting Wang Xizhi's active outlook on life. His calligraphy was both hard and soft, and the lines were flexible. It had a contrasting beauty, which could show his transcendence and gentle inner charm. The Preface to the Orchid Pavilion was exquisitely written, and the stippling was like a dance. It was regarded as the best in the calligraphy world. Although it was not as good as Wang Xizhi's cursive calligraphy, as an elegant, elegant and unrestrained style of the era, no one could surpass or accompany it.
Preface to Tengwang Pavilion, Calligraphy Calligraphy with Brush Pen
The calligraphy of the Preface to King Teng's Pavilion was not in the search results.
Wang Xizhi's Original Calligraphy with the Preface to the Orchid Pavilion
We can conclude that Wang Xizhi's "Preface to the Orchid Pavilion" has been lost. The "Preface to the Orchid Pavilion" that we see now is a copy copied by later generations. The Tang Dynasty calligrapher Feng Chengsu's copy of the Preface to the Orchid Pavilion was praised as the version closest to the authentic work of the Orchid Pavilion. In addition, Chu Suiliang's original work, Preface to the Orchid Pavilion, was also preserved and is now hidden in the Lanqian Mountain Museum in Taiwan Province. There was currently no exact information about the auction price of the original Preface to the Orchid Pavilion.
The Preface to the Pavilion of King Teng's Calligraphy Works
We can conclude that the calligraphy works of the Preface to the Pavilion of King Teng include Tian Yingzhang's regular script Preface to the Pavilion of King Teng, Wen Zhengming's running script Preface to the Pavilion of King Teng in Suzhou Museum, Zhu Yunming's cursive script Preface to the Pavilion of King Teng and Poetry, Fang Aisheng's calligraphy works of Preface to the Pavilion of King Teng, Wen Zhengming's Preface to the Pavilion of King Teng/Complete Collection of Calligraphy, etc.
The Preface to the Pavilion of King Teng's Calligraphy Works
The calligraphy works of the Preface to the Pavilion of King Teng included Wen Zhengming's cursive calligraphy and Zhu Yunming's cursive calligraphy. Among them, Wen Zhengming's cursive calligraphy works were collected in the Suzhou Museum, while Zhu Yunming's cursive calligraphy works showed his calligraphy attainments and style. In addition, Tian Yingzhang's regular script work, Preface to the Pavilion of King Teng, was also a famous calligraphy work. As for the other calligraphy works, there was no mention of them in the given search results.
The Preface to the Pavilion of King Teng's Calligraphy Works
The calligraphy works of the Preface to the Pavilion of King Teng included Tian Yingzhang's regular script Preface to the Pavilion of King Teng, Wang Bo's official script Preface to the Pavilion of King Teng, Zhu Yunming's cursive script Preface to the Pavilion of King Teng and Poetry, Wen Zhengming's cursive script Preface to the Pavilion of King Teng, and Gao Wei's regular script Preface to the Pavilion of King Teng.
Moon Pavilion Calligraphy
The Moon Pavilion was a building in Suzhou. It was also the three characters written by Song Richang, the chairman of the Shanghai Calligraphy Association. The architectural style of the Moon Obtaining Pavilion was simple and elegant. There was a flying dragon on both sides of the building. With the lace eaves on the back of the cloud pattern, it was exquisite and free, harmonious and handsome. There was a half-pavilion built on the front wall, and a pair of five-colored kylin hung upside down from the eaves of the half-pavilion. The Moon Pavilion was named one of the top ten buildings in Suzhou in 1986. In addition, Deyue Tower was also the venue of the Yu Garden Painting and Calligraphy Fair, providing a place for painters to gather, display, and promote. Regarding the calligraphy works of the Moon Pavilion, there was currently no relevant information provided.
Baoyue Pavilion Master's Calligraphy
The owner of Baoyue Pavilion's calligraphy works were well-known in the Chinese calligraphy world. Yao Nai was a calligrapher in the Qianjia period. His calligraphy was mainly expressed in running script, and the main melody was a touch of lyricism. His calligraphy has been passed down to this day, showing his smooth and elegant style. In addition, Chen Jiazhi was also an artist who was good at calligraphy. Her calligraphy skills were strong and she was considered to be better than many big shots of the Calligraphy Association. However, the information provided so far was not enough to draw a clear conclusion about the specific calligraphy works and style of the owner of Baoyue Pavilion.
Appreciation of Pavilion Style Calligraphy Works
The pavilion style calligraphy was a style of calligraphy from the Ming and Qing Dynasties. It was neat, smooth, and vigorous. Shen Du of the Ming Dynasty was one of the representatives of the pavilion style calligraphy. His work, Jing Zhai Zhen Ce, was considered to be the highest level of the pavilion style calligraphy. This work had a standard font, strong strokes, even knots, neat rows, rich appearance, elegant grace. In addition, the court examination paper of Zhao Bingzhong, the top scholar of the Ming Dynasty, was also one of the precious relics of Guange calligraphy. Guange calligraphy was widely used in court documents and imperial examinations during the Ming and Qing Dynasties. Its standardized font and easy-to-read characteristics made it an official calligraphy style. However, for the development of the art of calligraphy, Pavilion Style Calligraphy was sometimes considered an obstacle because it was too standardized and lacked personal style and innovation. In general, the works of calligraphy in the pavilion style were still worth appreciating and learning today because they showed the skills and talents of calligraphers in the Ming and Qing Dynasties.
Baoyue Pavilion Master's Calligraphy
The owner of Baoyue Pavilion's calligraphy works were well-known in the Chinese calligraphy world. Yao Nai was a calligrapher in the Qianjia period. His calligraphy was mainly expressed in running script, and the main melody was a touch of lyricism. His calligraphy has been passed down to this day, showing his smooth and elegant style. Chen Jiazhi was also an artist who was good at calligraphy. She was one of the owners of Baoyue Pavilion. Yin Dongyuan was another owner of Baoyi Pavilion, and his cursive calligraphy was highly appreciated. As for the other owners of Baoyue Pavilion and their calligraphy works, the search results did not provide any relevant information.