Luo Chengxiang's Calligraphy
Luo Chengxiang was a top scholar in the Qing Dynasty. His calligraphy attainments were profound. His small regular script works were particularly outstanding. The style was mainly influenced by Zhao Mengfu. The composition was upright and peaceful, and the writing was agile and natural. His calligraphy works include couplets, calligraphy album pages and fan faces, some of which are collected in the Three Gorge Museum in Chongqing. Luo Chengxiang was also a talented poet, and his poems were highly praised. In short, Luo Chengxiang was a Qing Dynasty scholar who had outstanding achievements in calligraphy and poetry.
Luo Yunxi's Calligraphy
Luo Yunxi's handwriting was Han Yi Luo Yunxi style. This was a handwritten font developed by the Hanyi font library, based on the handwriting of the celebrity Luo Yunxi. This font perfectly restored Luo Yunxi's beautiful and elegant features, and was very popular among users. If you are interested in Luo Yunxi's font, you can download it for free from the relevant font websites.
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.
Seventeen Calligraphy Lectures of Lao Shi's Calligraphy Lecture
The Seventeen Calligraphy Forms was one of Wang Xizhi's representative works of cursive script. It was a group of famous cursive calligraphies from the Tang Dynasty, composed of Wang Xizhi's letters. There were 107 lines and 943 characters in the Seventeen Calligraphy Forms. It was written for 14 years and was an important material for studying Wang Xizhi's life and the development of calligraphy. The style of this group of posts was blunt and elegant, neither aggressive nor fierce, showing a kind of fair and peaceful atmosphere. It was regarded as the supreme model for learning cursive script and was regarded as the "dragon and elephant in the book" by calligraphers. The order of the " Seventeen Calligraphy " was also very particular. From the calm dotting at the beginning to the unrestrained and unrestrained in the middle, then to the regular script that was slightly rested, and finally to the wild cursive script as the end. The entire post was like a symphony. Although the Seventeen Calligraphy Forms was a printed copy, it could still be used as a reference to learn the painting method.
Sang Wenci's Calligraphy
Sang Wenci was a famous calligrapher who enjoyed a high reputation in the Chinese calligraphy world. He was born in 1913 and was a famous teacher of his generation in Ningbo. He was known as the highly respected Three Wonders of Literature, Poetry, and Calligraphy. Sang Wenci formed his own theoretical thoughts in calligraphy practice, emphasizing that "the brush must be strong, the qi must be sufficient, the momentum must be complete, and the emotion must be true", and he combined calligraphy with literature, music, painting, sports and other artistic forms. His calligraphy works were considered to have a unique charm and were included in many calligraphy anthologies. Sang Wenci was also one of the authors of the "Four Artists of Jinling". His works showed the fusion of classical and modern, and were considered one of the most collectible calligraphy works in contemporary China.
Wu Zetian's Calligraphy
Wu Zetian was a talented empress, and her calligraphy attainments were also highly praised. The most famous of her calligraphy works was the Stele of the Immortal Prince, which was regarded as one of the 100 most beautiful calligraphy works in China. This stele was inscribed in 699 AD. It had 33 lines, 66 words per line, and a total of 2162 words. On the top of the Immortal Ascension Crown Prince Stele, the words 'Immortal Ascension Crown Prince Stele' were written in Fei Bai style, forming a bird-shaped stroke, showing her unique calligraphy style. Her calligraphy strokes were tactful and fluent, and her strokes were sonorous and sonorous. Her style was vigorous and unrestrained, and she was known as the head of women's calligraphy. Her calligraphy had been influenced by Wang Xizhi, and she was especially good at Fei Bai Shu and Xing Cao Shu. Although her calligraphy remains were few, her works displayed her profound calligraphy skills and unique artistic charm.
Xu Hong's Calligraphy
Xu Hong was an artist, and his calligraphy works were exhibited in the solo exhibition "Paradise in the Deep Valley". The exhibition displayed Xu Hong's paper manuscripts, drawer series, and paintings on shelves, totaling 24 pieces. Xu Hong's writing style and characteristics could not be learned from the search results provided.
Zhang Yuanqing's Calligraphy
Zhang Yuanqing was a famous calligrapher. His calligraphy works displayed a unique style and technique. He was good at many kinds of calligraphy, including regular script, running script, cursive script, Wei stele, official script, etc. His works were full of power and charm, and at the same time, they displayed an elegant style. Zhang Yuanqing's calligraphy works had participated in many calligraphy exhibition at home and abroad and won many awards. He paid attention to learning the famous inscriptions and stone carvings of the past dynasties, pursuing the artistic effect of naivety, unrestrained and elegant. His works were highly praised and recognized by experts and society.
Yan Zhenqing's Calligraphy
Yan Zhenqing's regular script copybook referred to Yan Zhenqing's collection of regular script works, which included works such as the Pagoda Stele. These copybooks were based on Yan Zhenqing's regular script style for reference and practice by those who learned and appreciated calligraphy. Yan Zhenqing was a famous calligrapher in the Tang Dynasty. His regular script works were famous for their rich and beautiful strokes, smooth and steady, rigorous and dense, stable and symmetrical. Yan Zhenqing's regular script copybook had an important reference value for learning and studying calligraphy.
Fan Jianguo's Calligraphy
Fan Jianguo was a Chinese calligrapher. He had deep attainments in calligraphy and seal cutting. Although Fan Jianguo had not studied calligraphy for a long time, he had made remarkable achievements in the art of calligraphy by virtue of his early experience in the art academy and his good artistic talent. His calligraphy creation was based on tradition, focusing on learning and creating classical steles, respecting teachers and honoring Dao, and studying endlessly. His works were mainly based on Wei stele calligraphy, which was strong and vigorous, winning the praise of his peers in the art world. Fan Jianguo was also a member of the Chinese Calligraphy Association. His works had won many awards and were included in various albums. In short, Fan Jianguo was a well-recognized and praised calligrapher.
Ouyang Tong's Calligraphy
Ouyang Tong's regular script was a collection of his calligraphy works. Ouyang Tong was a famous calligrapher of the Tang Dynasty. Like his father, Ouyang Xun, he was known as the " Big and Little Ouyang." Ouyang Tong's regular script copybook was famous for its square and round strokes, tight knots, strong strokes, and condensed strokes. One of his masterpieces was his regular script work, the Stele of Master Daoyin, which was now in the Forest of Steles in Xi'an, Shaanxi Province. Ouyang Tong's regular script was very popular among calligraphy lovers, especially suitable for beginners to practice.