Wu Deheng's Calligraphy Works
Wu Deheng was a Chinese calligrapher. His calligraphy works used ancient poems as the theme, such as "The Story of the Guisi Tower,""The Story of Tianxiang Garden,""The Story of the Dashi Palace,""The Story of the Half-hidden House," and so on. His works were rigorous and rich in imagination. They were included in books such as "The Calligraphy Classic of Famous Scholars in Modern China" and "A Thousand Famous Chinese Artists". Wu Deheng's artistic achievements received special reports from China's Xinhua News Agency, China Painting and Calligraphy News, Hong Kong newspapers, and the central, provincial, and municipal television stations. His works used bone rhyme, spirit rhyme, and charm to express the meaning of calligraphy works, making his works more aesthetic.
Wu Junqing's Calligraphy
Wu Junqing (1844-1927) was a famous calligrapher and seal cutter from the late Qing Dynasty to the modern era. At first, he was famous for his calligraphy and seal carving. Later, he learned painting and learned from the strengths of the Green Vine School, the Eight Great Schools, and Uncle Zhi. At the same time, he integrated the strokes of seal script, official script, and wild grass into his paintings to create a strong and ancient style. Moreover, he had innovative characteristics and was very famous in the art world. His calligraphy works were mainly in seal script and running script. His brush and ink were smooth, simple and vigorous, and ancient. He could break the old rules and form his own style. His poems, calligraphy, paintings, and seals complemented each other and fused into one, possessing a strong personal style. Wu Junqing's artistic style had a great impact on modern Chinese painting, and also had a certain impact on Japanese art.
Wu Jun's Calligraphy
Wu Jun was a Chinese calligrapher. His calligraphy works were unique, elegant, and elegant. His works have won awards in many book festivals and competitions, including the Xi'an City Fair in Shaanxi Province, the Xi'an City Senior Book Fair, and national and international competitions. His works and biographies were included in many ancient books. Wu Jun's calligraphy style was vigorous and strong, and he had his own style of calligraphy. His works were collected by many collectors at home and abroad, and were widely spread in Japan, South Korea, and Southeast Asia. Regarding the specific content and form of Wu Jun's calligraphy works, the literature did not provide detailed information.
Yan Zhenqing's Calligraphy and Works
Yan Zhenqing's calligraphy was distinguished by its awe-inspiring, vigorous, and heroic style. His regular script was called Yan Style, which had a square and dense structure. It was light in horizontal strokes and heavy in vertical strokes. His strokes were vigorous and upright. Yan Zhenqing's calligraphy works were full of power and vitality. The strokes and lines were carefully arranged and sketched, giving people a majestic feeling. His calligraphy style was unique, with a backbone and a strong beauty. Yan Zhenqing's representative works included "Sacrificial Nephew Manuscript","Yan Family Temple Stele","Duobao Pagoda Stele" and so on. Among them,"Sacrificial Nephew Manuscript" was known as "the second cursive script in the world", showing the extraordinary style of Yan Zhenqing's cursive calligraphy. 'Yan Family Temple Stele' was one of his representative works in regular script. It was dignified and magnificent. The Pagoda Stele was Yan Zhenqing's early masterpiece. The regular script was square and the strokes were smooth. Yan Zhenqing's calligraphy works had become an important chapter in the history of Chinese calligraphy with its unique style and strokes.
Yan Zhenqing's Calligraphy Works
Among Yan Zhenqing's calligraphy works, some were very famous and highly respected, including Yan Qinli Stele. This was the Divine Stele that Yan Zhenqing had written for his great-grandfather, Yan Qinli. It recorded the Yan Clan's lineage and Yan Qinli's life story. Yan Qinli Stele showed the mature style of Yan Zhenqing's regular script. His writing style was vigorous, dignified and elegant, and the font structure was rigorous yet flexible. Yan Zhenqing was good at using techniques such as lifting, pressing, and stopping to make the strokes and lines show rich changes, both powerful and rhythmic. This stele also demonstrated Yan Zhenqing's superb ability to form words. He handled the interweaving and evading between strokes, making every word present a harmonious beauty. The entire work was unified without losing its changes, full of vivid charm. Yan Qinli Stele had the characteristics of dignified and open-minded, relaxed and cheerful, the combination of movement and stillness, the combination of cleverness and awkwardness, and grace and generosity. The brush is horizontal, thin and vertical, thick and thick, hiding the head and protecting the tail, using both square and round, vigorous and powerful. The vertical painting takes the momentum of "facing each other". The vertical painting is thick and the goose tail is forked. The hook is like a bird's beak. The momentum between the dots is coherent. This stele emphasized laws and regulations, and it had the aura of the Great Tang. Yan Qinli Stele was one of Yan Zhenqing's representative works of regular script in his later years and was considered a treasure of his calligraphy art.
Yan Zhenqing's Calligraphy Works
Yan Zhenqing's calligraphy work,'Persuade Learning,' was a seven-character ancient poem. Through the description of the learning environment, this poem expressed the meaning that one should study hard when they were young, and study late when they were old. The poem exhorted teenagers to cherish their youth, study hard, and make a difference. Otherwise, it would be too late to regret when they reached old age. This poem was written by Yan Zhenqing to encourage future generations, showing his emphasis on learning and his attitude of cherishing time. Yan Zhenqing was a famous official and calligrapher of the Tang Dynasty. His calligraphy works were known as one of the "Four Masters of Regular Script".
Mi Fu's Calligraphy Works
Mi Fu's calligraphy works included Shu Su Tie, Yan Shan Ming, Tiaoxi Poetry Volume, Hong County Poetry Volume, Duojing Lou Poetry Volume, and Empress Dowager Elegy Tie. These works showed Mi Fu's attainments in running script, regular script, official script, and other calligraphy styles. His calligraphy style was stable and not ordinary, with many changes, taking into account the overall charm and perfection of the details. Among them, Shu Su Tie was known as the best calligraphy in China. It was one of Mi Fu's most famous works and one of the top ten famous calligraphy pieces in China. These works demonstrated Mi Fu's unique talent and charisma in calligraphy.
Zhao Mengfu's Calligraphy Works
Zhao Mengfu was a famous calligrapher in the Yuan Dynasty. His calligraphy works were very rich. Some of his famous works included the Ode to the Luo God, the Tao Te Ching, the Danba Stele, the Three Gates of the Xuanmiao Temple, the Linhuang Court Scripture, the Eleven Postscripts of the Lanting Pavilion, and the Four-Style Thousand-Character Essay. His calligraphy works were outstanding in regular script and running script, creating a unique artistic style, which had an important impact on the calligraphy of the Yuan Dynasty and later generations. Among them,"Ode to the Luo God" was one of his representative works, which was now in the collection of the Palace Museum in Beijing. In addition, he also had other important calligraphy works, such as the Heart Sutra and the Three Records of the Re-cultivation of the Mystic Temple. Zhao Mengfu's calligraphy works were famous for their exquisite skills and unique artistic style.
Yan Zhenqing's Calligraphy Works
Yan Zhenqing's calligraphy works include Yan Qinli Stele, Li Xuanjing Stele, Xianyu's Lidui Record, Guo Family Temple Stele, Duobao Pagoda Stele, Sacrifice Nephew Manuscript, Liu Zhong's Envoy Post, Self-writing Post, Fighting for Seat Post, Dongfang Shuo Painting Praise, Yan Family Temple Stele, Magu Immortal Altar Record, Resurrection Ode, etc. Among them, Yan Qinli Stele showed Yan Zhenqing's mature writing technique and structural design, Li Xuanjing Stele had the meaning of seal script, Xianyu's Lidui Record and Guo Family Temple Stele showed Yan Zhenqing's variation in calligraphy style, Duobao Stele was a regular script calligraphy work, regarded as the highest peak of Yan Zhenqing's regular script, and Sacrifice to Nephew Manuscript was his running script work, which was now collected in the Palace Museum in Taibei. Self-written Body Invitation was his official calligraphy work. These works reflected Yan Zhenqing's creativity and unique calligraphy style, which was widely studied and appreciated by later generations.
Fan Jianhua's Calligraphy Works
Fan Jianhua was a Chinese calligrapher. His calligraphy works had participated in many exhibition, such as the National Couplet Calligraphy Exhibition, the National Fan Calligraphy Invitation Exhibition, and the East China Youth Calligraphy Exhibition. His works had also been published in national journals. Fan Jianhua's calligraphy works combined the gentleness and moisture of the southern school of painting with the vigor and heaviness of the northern school. He had won many calligraphy competitions. However, the content and style of Fan Jianhua's calligraphy were not mentioned in the search results.
Cui Hanbai's Calligraphy Works
Cui Hanbai was a famous Chinese calligrapher, and his calligraphy works were highly praised. He had won the gold medal of the 7th China Calligraphy Orchid Pavilion Award and became the only top scholar in the award. His works included calligraphy works of different subjects and styles such as big regular script, small regular script, and small running script. His big regular script work, Cui Hanbai's Big Regular Script Xin Jiaxuan's Ci Collection, copied two Ci poems of Xin Qiji, a poet of the Southern Song Dynasty, in regular script, showing his familiarity with Xin Qiji's Ci works and his grasp of artistic effects. In addition, Cui Hanbai's calligraphy style was featured by a natural, smooth, and unorganized writing style. He emphasized that the brush moved with the heart, and the shape, texture, and structure appeared naturally. His works were frequently shown in important shows such as the National Calligraphy Exhibition and the Lanting Awards, demonstrating his talent and attainments. In general, Cui Hanbai's calligraphy works were praised for their vivid and natural style.