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.
Cui Hanbai's Calligraphy Review
Cui Hanbai's calligraphy was widely evaluated and commented on. Some people thought that his font and composition were very good. Overall, it looked very good, but if you looked closely, you would feel that it was a little impatient, and some of the strokes were sloppy. However, his calligraphy was very pleasing to the eye and full of wit. He integrated American culture into his calligraphy, showing a modern and international approach. At the same time, he was also a doctor and had other professional abilities to correct calligraphy. His calligraphy blended into the overall trend of the world today, finding a balance between casual and deliberate. In addition, Cui Hanbai also evaluated other calligraphers, including Mr. Qigong, who felt that his brush style lacked the ability to stir and control flexibility. Cui Hanbai's comments caused some controversy, but some people thought that his courage and different voices were necessary for the improvement of art appreciation. In general, Cui Hanbai's calligraphy level had received the attention and evaluation of professional critics and the majority of netizens. His works had a certain influence in the calligraphy world.
Cui Hanbai talks about calligraphy
Mr. Cui Hanbai mentioned the importance of brush strokes in his calligraphy video. He believed that the strokes of calligraphy were not complicated. As long as he used the brush like he used chopsticks to pick up vegetables, he could master the strokes of calligraphy. Through vivid examples, he taught calligraphy lovers how to use the brush and how to master the strokes, making it easy to learn calligraphy. Mr. Cui Hanbai's calligraphy concept and experience were widely concerned in the media, and his calligraphy works were also favored by collectors. However, Mr. Cui Hanbai did not explain the specific skills and methods in detail. Therefore, regarding the specific content of Mr. Cui Hanbai's lecture, there was no clear answer in the information provided so far.
Cui Hanbai's Calligraphy Lecture Video Collection
Information about the complete collection of Cui Hanbai's calligraphy lecture videos could be found in the search results. According to the search results, there were many episodes of Cui Hanbai's calligraphy lecture videos, including " The Culture and Art of Calligraphy,"" Su Shi's Life and Calligraphy," and " How the Ancients Written Calligraphy," etc. However, the specific number of episodes and content were not mentioned in the search results provided. Therefore, he couldn't accurately answer the question of Cui Hanbai's calligraphy lecture video collection.
Cui Hanbai's criticism of Qi Gong's calligraphy is just like that
Mr. Cui Hanbai criticized Mr. Qigong's calligraphy in the live broadcast, saying that Mr. Qigong had some flaws in his calligraphy and handwriting. Mr. Cui Hanbai pointed out that Mr. Qigong lacked control over the flexibility of the brush. His strokes were simple and easy to imitate, more like the knot of hard pen calligraphy. He also mentioned that Mr. Qigong was not professional enough when answering questions about the relationship between writing style and knots, and gave an answer that was considered ignorant. Mr. Cui Hanbai felt that Mr. Qigong's calligraphy lacked the element of agitation, and the flexibility of his strokes was not strong enough. Almost all of his strokes were linear and lacked the element of agitation. However, Mr. Cui Hanbai's evaluation caused some controversy. Many netizens thought that Mr. Cui Hanbai was not qualified to comment on Mr. Qigong. After all, there was a huge gap in the reputation of calligraphy between the two. Therefore, there were different opinions on Mr. Cui Hanbai's evaluation of Qi Gong calligraphy.
Cui Hanbai's Big Script
Cui Hanbai's calligraphy was famous for its thick and straight style. His big script usually had a lower center of gravity, and his words were usually written longer, in order to make his words stand out. He combined the characteristics of moving the center of gravity down in the words and formed a good effect. Cui Hanbai's big regular script works had won the Lanting Gold Award, and he was good at using his pen to make the strokes appear thick, solid and heavy. His big regular script works demonstrated his unique ability to form characters and his rich writing experience. Overall, Cui Hanbai's standard calligraphy was recognized.
Cui Hanbai's Early Small Regular Script
Cui Hanbai's early small regular script had undergone tremendous changes in the development of his calligraphy. According to the records in the document [2], Cui Hanbai's Xiaojie works had changed drastically between 2010 and 2011, and he himself had recorded this process in 2012. In his past works, his small regular script had the elegance of running script and the style of the Wei stele. His stippling was crisp and neat, showing a clean and neat style. However, the document did not mention the characteristics and style of the early Xiaojie. Therefore, the current information was not enough to provide an answer to the specific characteristics of Cui Hanbai's early Xiaojie.
Cui Zouzhao's works
I'm just a fan of online literature and don't know much about Cui Zouzhao's works. If I can provide more information, I will try my best to answer your questions.
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".