Wang Xizhi's Small Regular Script, Huang Ting Jing
Huangting Jing was a popular Taoist cultivation book during the Wei and Jin Dynasties. It was said that Wang Xizhi's small script Huangting Jing was the Exterior Jing. This post's writing technique was extremely strict and elegant, with a beautiful and cheerful attitude. There was a legend that a Taoist priest in Shanyin wanted to get Wang Xizhi's calligraphy. Knowing that he was addicted to geese, he prepared a fat white goose as a reward for writing scriptures. Wang Xizhi saw the goose happily writing scriptures for the Taoist priest for a long time, and then "caged the goose back". The original text was recorded in the Book of History of the Southern Dynasty. It said that Wang Xizhi wrote the scriptures of Dao and De. After many rumors, it became Huangting Jing. Therefore, Huangting Jing was commonly known as "Changing Goose Tie". There was no name at the end, and it was signed "May of the twelfth year of Yonghe (356)". Today, it is only a copy of the later generations. Its authentic works have long since disappeared, but there are copies, copies and engraved copies, such as the Fenglou version of Song Xing. Zhiyong, Chu Suiliang, Yu Shinan, Ouyang Xun and others all have Linben. The Huangting Sutra focused on the theory of keeping the body and spirit, keeping the essence, and the theory of human organs. It played an important role in the history of Taoism and, to a certain extent, contributed to the birth of the Taoist school. It was regarded as the wonderful code of longevity and was included in the text category of the Dongxuan Department of the Orthodox Taoist Canon. The inner alchemy school respected it as the jade law of learning immortals and the golden subject of cultivation.
Wang Xizhi's Calligraphy of Huangting Jing
Wang Xizhi's calligraphy of Huangting Jing had certain artistic value and characteristics. Huangting Jing was a popular Taoist cultivation book during the Wei and Jin Dynasties. It was said that Wang Xizhi's Xiaojie Huangting Jing was a Exterior Jing. The law is very strict, the spirit is also relaxed, there is a beautiful and cheerful mood. There was a legend about this post. The Taoist priest in Shanyin knew that Wang Xizhi was obsessed with geese, so he prepared a white goose as a reward and asked him to write the sutra. Wang Xizhi happily wrote the sutra and "caged the goose and returned". The original text was recorded in the Southern Dynasty's "On Calligraphy Table," which described the scriptures written by Wang Xizhi as "Dao" and "De," and later passed on as "Huangting Jing." This post was also commonly known as "Changing Goose Tie". There was no name, and the last name was "May 356, the twelfth year of Yonghe". Now only the later copies are circulated. From the perspective of calligraphy, the Yellow Court Scripture provided a model for calligraphy lovers to appreciate and copy. There were some related copybooks published, such as Wang Xizhi's Huangting Scripture Collection of Ancient Poetry-Famous Steles and Famous Calligraphy of Ancient Poetry Collection, Wang Xizhi's Huangting Scripture Collection of Couplets-Famous Steles and Famous Calligraphy of Couplets, etc., which could be used by calligraphy lovers to further learn the artistic features of Wang Xizhi's small regular script calligraphy.
Small Regular Script
In small regular script calligraphy, there were certain essentials to writing the word "history". In terms of structure, the mouth part is flat, and when writing, you need to pay attention to the angle of compression on both sides; the vertical part in the middle should be vertical, and the left part should be horizontal, and the corner should be sharp; the flat part should pay attention to the shape of the head, back and tail. In different small regular script works, such as Wen Zhengming, Zhao Mengfu and other calligraphers, the word "history" also reflected their own style and characteristics. The word "history" in the "Ling Fei Jing" could not be big, the shape was wide and flat, and the angle was shoulder-length. The vertical stroke was slightly higher in the middle, the stroke was thicker, and the stroke was slightly lower. Watching " Wild Child " wasn't enough. Everyone, please click to read the novel!
Preface to the Orchid Pavilion, Wang Xizhi's Running Script
The Preface to the Orchid Pavilion was one of the masterpieces of Wang Xizhi, a calligrapher of the Jin Dynasty. It was known as the " world's first semi-cursive script." In 353 A.D., Wang Xizhi met with the literati at the Orchid Pavilion in Shaoxing, Zhejiang Province. They drank wine and wrote poems. While drunk, he wrote the Preface to the Orchid Pavilion. This preface had a total of 28 lines and 324 words. It was full of emotion and was full of life. Wang Xizhi's Preface to the Orchid Pavilion was revered by later generations as the regular script of running script, and was regarded as a treasure by Emperor Taizong of the Tang Dynasty. He even left his last words on his deathbed, asking for the Preface to the Orchid Pavilion to be buried with him. Because of its high artistic value, there are still many people copying the Preface to the Orchid Pavilion. In general, the Preface to the Orchid Pavilion had become a classic in the history of Chinese calligraphy with its exquisite calligraphy skills and unique artistic charm.
Yan Zhenqing's Small Regular Script
Yan Zhenqing's small regular script works include "Magu Immortal Altar Record."
Ni Yunlin Small Regular Script
Ni Yunlin's small regular script was mainly found in paintings, poems, postscripts, and letters. His works of small regular script handed down from generation to generation include "Jing Ji Xuan Poetry,""Self-written Poetry Manuscript Volume,""Zhi Shen Du Tao Poetry Letter," etc. The calligraphy and painting postscripts include "Autumn Forest Wild Prosperity Painting,""Water Bamboo Residence Painting,""Six Gentlemen Painting,""Jiangzhu Wind Forest Painting," Postscript "Su Shi's Dark Cloud Sky Post," Postscript "Zhang Yu Self-written Poetry Post,""Bamboo Painting," etc. From Ni Yunlin's entire life, his writing style was beautiful and exquisite in his early years, gentle and simple in his middle age, and elegant in his later years. The academic community generally believed that his writing style gradually matured after the age of 60. Using 60 years old as the boundary, the research on Xiaojie could be divided into two periods: the early stage (early and middle stage) and the late stage (later stage). Ni Yunlin's small regular script was elegant. His initial learning was influenced by the two kings, Zhong Yao, and Chu Suiliang. For example, the 39-year-old book "Autumn Forest Wild Xingtu" inscription and postscript, the early regular script was influenced by Chu Suiliang, the beginning of the pen more exposed edge into the pen, the horizontal painting is slender but the pen strength is strong, the twists and turns are obvious, the knot is relatively flat; The inscription and postscript of "Water Bamboo Residence Painting" written at the age of 43, the pen is ancient and clumsy, and there are many twists and turns, which have the meaning of official script. The knot is relatively flat, and the strokes of the characters are sparse and bright; The inscription and postscript of" Wu Zhu Xiu Shi Painting" written at the age of 51, the pen is casual and natural, the lines are thin and strong, paying attention to the change of ink color, the structure is scattered and the spirit is gathered, the relaxation is moderate; At the age of 58, the inscription and postscript of "Jiangzhu Fenglin Painting" presented certain characteristics. The characteristics of Ni Yunlin's small regular script were generally expressed in the following three aspects: First, the strokes were very smooth, emphasizing the stretching of the main horizontal painting, the skimming painting and the pressing painting, and the font presented an elegant and agile feeling; Second, the strokes were fine and full of elasticity and tension, which required a lot of calligraphy and writing practice, which had a deep influence on Wen Zhengming's small regular script of the Wu School of Calligraphy in the Ming Dynasty; Third, the small regular script was full of variations. It did not use a rigid processing method and had an obvious writing rhythm. There would be a cursive writing technique in each word, and there would often be individual cursive handwriting in the entire text. It was hoped that it would appear to be written naturally. Most of the ink of the small regular script was inscribed with poems, postscripts, or self-written poems. Although the writing time was different, they all showed the state of "unintentional perfection", which was loved by later generations of small regular script students. The Legend of Lin Yi is equally exciting, and everyone is welcome to read it!
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 undergone a huge change between 2010 and 2011. He had also 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.
Wang Xizhi's Masterpiece
Wang Xizhi (303 - 361) was a calligrapher, painter, and writer of the Eastern Jin Dynasty. He was regarded as one of the great masters of Chinese calligraphy. One of Wang Xizhi's masterpieces was the Preface to the Orchid Pavilion Collection, which was regarded as a classic in the history of Chinese calligraphy. This article depicted Wang Xizhi and his friends enjoying the scenery and drinking among the mountains and rivers near the Orchid Pavilion during the Eastern Jin Dynasty. It expressed the author's open-mindedness and love for nature. The structure of this essay was exquisite, and the style of writing was elegant. It was one of Wang Xizhi's representative works and also a classic in the history of Chinese calligraphy.
Wang Xizhi's Calligraphy
Wang Xizhi was a famous calligrapher in China. He left behind many works that were handed down from generation to generation. Among them, his representative works included Preface to the Orchid Pavilion, Seventeen Calligraphy, and Post-Rain Calligraphy. His calligraphy works had a variety of styles, including regular script, running script, cursive script, and so on. His calligraphy technique was unique, his words were majestic, and his strokes were vigorous. His works were called classics in the calligraphy world by later generations and were widely collected and studied. Wang Xizhi's calligraphy works had artistic features, natural structure and vivid charm. His cursive script work, Seventeen Calligraphy, was regarded as one of his representative works. Generally speaking, Wang Xizhi's calligraphy was a treasure in the history of Chinese calligraphy, which showed his talent and artistic attainments.
Wang Xizhi's Calligraphy
Some of Wang Xizhi's famous calligraphy works are as follows: - ** Cursive Calligraphy Invitation Card **: - Preface to the Orchid Pavilion: This is Wang Xizhi's representative work of running script, which has a very high artistic value. - "Snow when the Qing Tie": for its semi-cursive representative works. - Ping An, He Ru, Feng Ju Tie: Reflects the unique style of Wang Xizhi's running script. The style of Feng Ju Tie is calm and pure, the words stand upright, and the posture is comfortable. - ** Cursive Calligraphy Title: - "Seventeen Tie" is the representative work of Wang Xizhi's cursive script. - "You Mu Tie": also known as "Shu Du Tie," for its cursive masterpiece. - "Xing Rang Tie": The strokes are thick, do not show sharp edges, have the meaning of seal script, the word momentum is a stream down, the body is open, the posture is changeable. - ** Cursive Calligraphy **: - "Mourning Invitation": The representative work of cursive."Mourning Invitation","Deshitie" and "Second Thank You Invitation" were connected into one piece of paper, called "Three Mourning Invitation". - "There are frequent sad and evil posts": cursive works, the line axis is sometimes curved and sometimes straight, the calligraphy is sometimes cursive and sometimes running, the stippling is sometimes square and sometimes round, the writing style is deep and vigorous, vigorous and flowing. In addition, there were many famous calligraphy pieces such as Kong Shi Zhong Tie and Mei Zhi Tie. These calligraphy pieces displayed Wang Xizhi's superb calligraphy skills and occupied an extremely important position in the history of calligraphy.
What work of Wang Xizhi was called the world's first semi-cursive script?
Wang Xizhi's Preface to Lanting Collection was known as the world's first semi-cursive script. It was one of Wang Xizhi's representative works and a classic in the history of Chinese calligraphy. The Preface to the Lanting Collection was a preface that described the scene of Wang Xizhi and his friends gathering in the Lanting Pavilion to enjoy the scenery, drink wine and compose poems. It also expressed the cherishment and blessing of these friendships. The Preface to the Lanting Collection had a fresh and refined style of calligraphy, and its charm was known as the pinnacle of Chinese calligraphy history.