Chu Suiliang(596-659), a famous calligrapher in the Tang Dynasty. His calligraphy was learned from Yu Shinan at the beginning, and in his later years he learned from Zhong Yao and Wang Xizhi, integrating Han Li calligraphy. It is rich, smooth, varied, and unique in its own way. Together with Ouyang Xun, Yu Shinan and Xue Ji, they are known as the four great calligraphers of the early Tang Dynasty. According to legend, after the death of Yu Shinan, Emperor Taizong of the Tang Dynasty lamented that no one could discuss the book. Wei Zheng praised: "Chu Suiliang's penmanship is so vigorous that it is even more impressive than Wang Yishao's style." Wei Zheng believed that he had a deep understanding of the character "王" and the ability to distinguish the authenticity of the character "王". His handed down writings include "Master Meng's Stele", "Yanta Sacred Preface" and "Yique Buddhist Niche" in regular script. Chu Suiliang's "Shanhe Tie"
Explanation:Mountains and rivers are blocked, stars change and move. The hurt is shaking and falling, and I feel the willow plug of dependence. The misty clouds and laurel moonlight make me travel alone and never return. Breaking off the leaves of trees brings peace of mind, and picking the swallows and swallows increases one's nature. How can people understand the rise and fall of fishes and dragons? Chu Sui gave a good account.
Chu Suiliang's calligraphy first learned from Yu Shinan, and in his later years he adopted the methods of Zhong Yao and Wang Xizhi. He integrated Han Li calligraphy into it, making it rich, smooth, varied and unique. Together with Ouyang Xun, Yu Shinan and Xue Ji, they are known as the four great calligraphers of the early Tang Dynasty. According to legend, after the death of Yu Shinan, Emperor Taizong of the Tang Dynasty lamented that no one could discuss the book. Wei Zheng praised: "Chu Suiliang's penmanship is so vigorous that it is even more impressive than Wang Yishao's style." Wei Zheng believed that he had a deep understanding of the character "王" and the ability to distinguish the authenticity of the character "王".He studied calligraphy by Wang Xizhi and Yu Shinan. "Book Review of the Tang Dynasty" said that his calligraphy is: "Gold is born in the words, jade is moist in the lines, the rules are gentle and elegant, and the beauty is multifaceted." The "Preface to the Holy Religion of the Wild Goose Pagoda" written by him is the most unique. In this stele, he integrated Yu and Ou Fa into one, both of which were natural. From the point of view of charm, he directly catches up with Wang Yishao, but his brushwork, lettering, roundness, thinness and strength are all Chu's. Version 1: Song rubbings of Chu Suiliang's "Tanfu Tie"(Selected from the fourth text of "Chunhua Pavilion Tie" by famous ministers of all dynasties) Not only is his calligraphy "quaint and elegant, but also thin and tough", he also has a pair of exquisite and magical eyes for calligraphy appreciation. In the twelfth year of Zhenguan of the Tang Dynasty, due to the unfortunate death of the famous calligrapher Yu Shinan, Chu Suiliang was summoned and appointed as the official calligrapher.
Once, Emperor Taizong of the Tang Dynasty acquired a scroll of ancient calligraphy and asked Chu Suiliang to see if it was written by Wang Xizhi. Chu Suiliang looked at it for a while and then said, "This is Wang Xizhi's fake." Emperor Taizong was surprised when he heard this and asked Chu Suiliang how he could tell. Chu Suiliang asked Emperor Taizong to pick up the calligraphy and look at it through the sunlight. Chu Suiliang pointed at the character "小" and "波" with his finger, and said to Emperor Taizong: "In the dots of this small character and the strokes of the word "wave", there is a layer of ink marks that is darker than the outer layer. Wang Xizhi's calligraphy pen Dragon and Snake are so wonderful and fascinating that they should not have such a failure." After hearing this, Emperor Taizong of the Tang Dynasty admired Chu Suiliang's vision from the bottom of his heart.
After that, Emperor Taizong of the Tang Dynasty collected Wang Xizhi's ink marks, and whenever it was difficult to tell whether they were genuine or not, he would always ask Chu Suiliang to help him identify them. Later, he was ordered to catalog these precious calligraphy and keep them in the palace.
It is no exaggeration to describe Chu Suiliang as a powerful man. He was one of the few calligraphers in the past who intervened in the center of power in feudal society. Only by realizing this can we correctly understand Chu Suiliang's calligraphy. Version 2: Chu Suiliang's "Tanfu Tie"
Explanation of Chu Suiliang's "Tanfu Tie":It will be wet in Tanfu for a long time. Deeply depressed, the situation is also old. What can be said is that while the number of illnesses increases, medical treatment does not harm it. Rotten grass and dead trees, it’s okay to sigh. Since leaving Wangji, relatives and friends have blocked the crossing. Every time I think about the past, I would like to express it in my heart. I wish you to be able to act well, make your words come true, move to an important position, and be promoted to a great position. Hearing the praise increases my envy, and I am more like you. I am deeply beautiful and sincere. Because I care about things, I move to this land, and I want to be good to you. On May 8th, my uncle Suiliang reported to Xue Bashi.
Due to his family background and his own talents, Chu Suiliang was highly valued by Taizong. He successively served as the sixth-grade secretary, admonishment official, guest of the prince, Huangmen minister, Dali minister of the school, and finally the powerful Zhongshu Ling (chief prime minister). , and even served as the minister of Gu Ming who assisted the prince (Li Zhi, Emperor Gaozong of the Tang Dynasty). Chu Suiliang's honest and outspoken words were adopted by many Emperor Taizong of the Tang Dynasty. However, when Taizong died and Gaozong succeeded to the throne, Chu Suiliang's direct advice was met with death. In the sixth year of Yonghui reign of Emperor Gaozong of the Tang Dynasty, in order to oppose Emperor Gaozong's dethronement of the king and the establishment of Wu Zhaoyi, Chu Suiliang was strict in his words. He placed the imperial hut on the steps in the court, took off his crown and scarf, kowtowed down on the steps, and blood splattered on his head. Wu Zetian cursed from behind the curtain: "Why not kill this animal!" But in the end, Emperor Gaozong still appointed Zhaoyi as his queen. Soon, Chu Suiliang was demoted to Aizhou for the crime of conspiracy and died in office. After that, his descendants had many wives, and his two sons, Yanfu and Yanchong, were killed. A generation of good ministers had a tragic ending, but Chu Suiliang's reputation was also recorded in the annals of history.
Chu Suiliang was promoted as one of the four regular script writers in the early Tang Dynasty, and his main achievements were also in regular script. "Book Review of the Tang Dynasty" said that his calligraphy is: "Gold is born in the words, jade is moist between the lines, the rules are gentle and elegant, and the beauty is versatile." The predecessors commented on Chu Suiliang's calligraphy, "It is as green and trivial as the Yaotai, reflecting the spring forest, the beauty Chanjuan, not "Ren Luoqi added beauty and grace, and Ou Yu thanked him" (Zhang Huaiguan's "Book Break") "Elegant and gorgeous" (Zhu Changwen's "Mochi"), "Chu Deng was good at winning with posture, so his writing was constantly changing" (Jiang Heng's "Clumsy") Cuntang inscription and postscript"). This shows that his writing style belongs to the beautiful line. But Chu Suiliang's sparse and thin appearance is not skinny. Wang Shu said that "Chu Gongshu looks sparse and thin, but in fact he is plump and plump. He looks ancient and plain, but in fact he is elegant." This should be the words of a knowledgeable person. To sum up, Chu Suiliang's regular script lines are thin and strong, his words are rigorous, his writing style is rhythmic, gorgeous yet vigorous. He inherits the calligraphy of the Sui people and the calligraphy style of the Tang Dynasty below. He is an important figure who inherits the past and the future. Some people say that his calligraphy has become common people, but in fact, Chu Suiliang's calligraphy has contributed to the popularization of calligraphy.
Chu Suiliang's calligraphy "My Nephew's Notes" Chu Suiliang's regular script, known as "Chu Shu" in the world, is one of the classic Dharma books that later generations followed. However, looking at its origin, it is definitely not water without a source. Zhang Huaizhi's "Shu Duan" said, "If you are young, you will obey Yu Jian, and if you are long, you will be an ancestor of Youjun." Yu Jian's calligraphy adheres to the right army, is harmonious and connotative, and is very different from Chu Suiliang's thin and hard calligraphy. His father, Chu Liang, had a good relationship with Ouyang Xun. In his early years, Chu Suiliang's calligraphy showed a lot of official meaning, which was similar to Ouyang Xun's. When Chu Liang and Ouyang Xun were both officials in the Sui Dynasty, Chu Suiliang was around sixteen years old, which was the year when he wanted to learn, so he should have learned from Ouyang Xun. Looking at his "Yique Buddhist Niche Stele", the stele is close to the style of the Sui stele and also has the European style of Fengshen, which can be evidenced. In addition, Li Sizhen's "Shuhoupin" stated that Tang Taizong, Li Yuanchang (King of Han), and Chu Suiliang "all received it from Shi Ling." Shi Ling was born in the Sui Dynasty, and "Shu Duan" said that he "also has high antiquity, but suffers from sparseness and thinness", which is similar to Chu Suiliang's style. However, the relationship between Yu Shinan and Chu Suiliang will inevitably affect Chu's calligraphy style. In the first year of Zhenguan, Emperor Taizong of the Tang Dynasty recruited 24 disciples of fifth grade or above in the Hongwen Hall and "taught Yu Shinan Ouyang Xun to teach calligraphy". The following year, he established a calligraphy school in the Imperial College and appointed a doctor of calligraphy to teach calligraphy. Chu Suiliang was the secretary responsible for book copying at that time, so it was inevitable that his calligraphy style would be influenced by Yu Shinan and Ouyang Xun. The so-called "Zu Shu Youjun" dates back to the 13th year of Zhenguan when Taizong collected Wang Xizhi's calligraphy. In the tenth year of Zhenguan, Chu Suiliang was summoned by Emperor Taizong to serve as a servant. All the king's writings presented by the world were appraised by Chu Suiliang. "The whole world was vying for ancient books to offer, but at that time no one could tell whether they were authentic or not. Suiliang's comments came out, and none of them were found." Mistake." and edited the "Bibliography of Youjun". However, Chu Suiliang's calligraphy style had been basically established at this time and was only further improved. Therefore, Youjun's calligraphy did not have a fundamental impact on him. The most important thing about its impact is to distinguish between reality and reality, rather than blindly being thin and hard.
Chu Suiliang's calligraphy "Epitaph of Sima Qian's concubines accompanying Qing Yu" (biography)It can be seen from this that Chu calligraphy was most influenced by Shi Ling. Its overall style has not jumped out of the circle of Sui Dynasty inscription calligraphy, but in the later period, it revealed the style of Tang regular script to some extent. Therefore, what is said above is inherited from the Sui Dynasty, and the following is from the Sui Dynasty. There is a Tang Dynasty, and this is what it means.
The shortness of Chu's calligraphy has been described by predecessors as "luxurious carvings", "lack of nature, hard work and careful study" and so on. As a powerful official who actively participated in the world and made great achievements, his calligraphy was basically based on practicality. The calligraphy courses at the Imperial College should also be about learning practical calligraphy, so it is inevitable that the calligraphy will be engraved, regular, and not natural enough. This is also a common problem in regular script throughout the Tang Dynasty. Relatively speaking, Chu Suiliang's calligraphy is more lively and lively than other regular script masters in the Tang Dynasty. This is the main reason why Chu Suiliang's craze once appeared in the calligraphy circle today. However, those who study Chu today are either weak or skinny. They do not know that Chu's calligraphy shows plumpness in its thinness and strength in its agility. This is the fault of the scholars and not Chu's fault.
There are more than ten pieces of Chu Suiliang's calligraphy handed down from generation to generation, most of which are inscriptions on stele. "Master Meng's Monument" contains mostly official meanings, the writing style is round, and the style is close to that of Ou and Yu, and the writing style is not restrained. The outstanding ones should recommend "The Preface to the Holy Religion of the Wild Goose Pagoda" and "The Great Character Yin Fu Jing". The former is Chu Suiliang's representative work, with thin and strong fonts, precise knotting, and the use of running calligraphy. It is gorgeous and strong, and the wind and spirit are clear. People say it is golden, elegant, and elegant, and it can be called a masterpiece. The "Da Zi Yin Fu Jing" is ink on paper and is said to have been written in his later years. The writing is strong and sharp, the meaning is ancient and light, calm and cheerful. Although there are suspicions of forgery, its artistic achievements are clearly visible and can be regarded as genuine. The ink marks on other inscriptions are also sufficient for reference, but one must know the choices and take the essence.
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