Chang Ji, the pavilion, the sunset, the complete calligraphy
"Like a Dream Order·Chang Ji Xi Ting Sunset" Song·Li Qingzhao I often remember that the sun is setting in the stream pavilion, drunk and do not know the way back. I returned to the boat late at night and mistakenly entered the depths of lotus flowers. Fight to cross, fight to cross, startled a pool of gulls and egrets. If you want to present this poem in a complete calligraphy form, you can create it based on the complete content above.
Like a dream, I often remember the calligraphy of the sunset in the pavilion
"Like a Dream Order·Chang Ji Xi Ting Ri Mu" was a poem by Li Qingzhao of the Song Dynasty. There were many calligraphy creations about this poem. In terms of the forms of calligraphy, there were versions written by ten-year-old students, versions written in running-regular script for practicing calligraphy, and copies of Yuan·Zhao Mengfu's works. These calligraphic creations displayed different styles and characteristics under the pen of different people. From the perspective of the composition of a calligraphy work, the writer needed to consider the layout of the stroke structure of each word. For example, when writing "Chang Ji Xi Ting Sun Dusk, intoxicated and do not know the way back." I returned to the boat late at night and mistakenly entered the depths of lotus flowers. The thickness, length, and density of the strokes needed to be carefully arranged. Moreover, different writers might give different rhythms and rhythms to their works according to their own understanding of the meaning of the words. For example, when writing " Fight to cross, fight to cross," they might use the coherent and urgent strokes to reflect the anxiety of the protagonist in the poem who was eager to find a way out of his lost path. In short,"Dream Order·Chang Ji Xi Ting Sunset" provided a rich source of inspiration for calligraphy creators.
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.
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.
Sunset in Chang 'an
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The meaning of the Sunset Pavilion
The original site of Sunset Pavilion is now west of Luoyang City. During the Han and Jin Dynasties, it was used as a farewell banquet. During the Western Jin Dynasty, there was a saying related to the Sunset Pavilion by Xun Xu. Xun Xu was regarded as an important minister by Emperor Wu of Jin Dynasty, but later generations despised him as a crafty sycophant. He had experienced many positions, and was tactful in handling political affairs. He was able to survive and develop in the complicated situation at the turn of Wei and Jin Dynasties. Although the specific events related to the Sunset Pavilion were not mentioned in detail, later generations believed that the disaster of the Western Jin Dynasty was related to Xun Xu's words about the Sunset Pavilion.
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.
The metaphor and meaning of the sunset in the pavilion
In Li Qingzhao's "Dream Order·Chang Ji Xi Ting Ri Wu","Xi Ting Ri Wu" did not have a clear metaphor meaning, but it had a rich meaning. From the literal meaning of the word,"Xi Ting" was a pavilion by the water, a specific location, and "Ri Mu" meant dusk, which indicated the time. The combination of the two depicted a specific space-time scene. This scene was the starting point of the poet's memories, representing the background of her happy times in her early years. At that time, the poet was immersed in the fun of playing, drinking in the stream pavilion until dusk. Later, a series of interesting things happened, such as returning to the boat after he was done, mistakenly entering the depths of the lotus flower, and so on. On the whole,"Sunset in the Creek Pavilion" implied an unforgettable past experience full of youthful vitality and joy. It also contained the poet's deep nostalgia for the good times in the past, and at the same time, it also revealed a faint sorrow for the fleeting youth.
Chang 'an Ayu Painting and Calligraphy
A Yu, a native of Chang 'an, Shaanxi Province, studied under Mr. Wang Jinling and Mr. Zhang Zhiguang. He is currently a professor in the art department of Peihua College, a director of Xi'an Artists Association, the vice president of Xi'an Flower and Bird Painting Academy, and the director of the Flower and Bird Research Department of Chang 'an China Painting Academy. His works have been exhibited in many other shows, including the 2012 September Return to Good Enlightenment-A Yu Ink Painting Exploration Exhibition, the 2012 September China Modern Ink Painting National Tour Exhibition, and the 2013 July Pure Shaanxi Young and Middle-aged Chinese Artists Invitation Exhibition. His works have also been selected into the Grand View of China Modern Famous Artists, China Folk Painting Classics, and China Modern Artists 'Dictionaries. He also published "A Yu's Painting Collection,""A Yu's New Works,""A Yu's Flower and Bird Volume," etc. Lei Yuntao, whose pen name was Ah Yu, was a full-time painter of Chang 'an China Painting Academy, a director of Xi'an Youth Artists Association, and the vice chairman of Chang 'an Artists Association. He had also participated in many calligraphy and painting exhibition and won awards. His works had also been selected and published. The novel " Good Chang 'an " is equally exciting. Everyone is welcome to click and read it!
Baoyue Pavilion Master's Calligraphy
The owner of Baoyue Pavilion's calligraphy works were well-known in the China 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.