Who are the four masters of regular script?Calligraphy has a rich historical heritage in our country. Before introducing the four famous masters of regular script, let me give you some popular science: The four masters of regular script are the collective name for the four calligraphers who are famous for their regular script in the history of calligraphy. They are also called the four major regular scripts. They respectively refer to: Ouyang Xun (Ou Ti) of the Tang Dynasty, Yan Zhenqing (Yan Ti) of the Tang Dynasty, Liu Gongquan (Liu Ti) of the Tang Dynasty, and Zhao Meng (Zhao Ti) of the Yuan Dynasty. Ouyan Liuzhao's regular scripts each have their own strengths. They are the masters of regular script recognized by thousands of years of history. There is no specific distinction between them. Therefore, I hope everyone will get to know and understand these four great regular script masters with a learning attitude.
Zhao Mengfu, one of the four masters of regular script
Zhao Mengfu (1254-1322), whose courtesy name was Zi'ang, was also known as Songxue Taoist. He was the most prominent painter in the Yuan Dynasty and a painter who had a wide influence at that time and in later generations. Descendants of Qin Wang Defang, the son of Emperor Taizu of the Song Dynasty. After the fall of the Song Dynasty, he returned to his hometown to live idle. Later, he was recruited by the emperor of the Yuan Dynasty and served in five dynasties. He became a scholar in the Hanlin Academy, received the imperial edict, was honored as a doctor, was granted the title of Duke of Wei, and was given the posthumous title of Wenmin. He is good at seal script, Li script, Kai script, Xing script, and Cao script, and is the best at ancient and modern times. He is the author of "Songxue Zhai Ji".
He was a declining nobleman from Zhao and Song Dynasties, and later cooperated with the Yuan Dynasty. Zhao Mengfu and more than 20 people were the first batch to be recruited in 1287 (the 24th year of the Yuan Dynasty). After that, Jiangnan scholar-bureaucrats were recruited many times, and some of them obtained positions of wealth and wealth through Zhao Mengfu. Zhao Mengfu was favored by the emperor of the Yuan Dynasty. He was "prosperous in the five dynasties and famous all over the world". He became a scholar in the Hanlin Academy and became a leader in literati painting in the Yuan Dynasty.
Liu Gongquan, the Four Masters of Regular Script
Liu Gongquan, courtesy name Chengxuan, was born in Huayuan, Jingzhao (now Yaoxian County, Shaanxi Province). He was fond of learning when he was young, and was able to write poems at the age of twelve. Because he was good at calligraphy, he was favored by Emperor Mu Zong Li Heng and was called to be a bachelor of calligraphy in the Hanlin Academy. Liu Gongquan is the most famous calligrapher in regular script. He is as famous as Yan Zhenqing and is known as Yan Liu. He followed the calligraphy techniques of Wei and Jin, followed those of the early Tang Dynasty, and was influenced by Yan Zhenqing. He created his own Liu School between the Jin people's Jin Mei and Yan Shu's grace and majesty. Its charming and vigorous calligraphy can be compared with the vigorous and generous style of Yan's calligraphy, and it was praised by later generations as "Yan's sinews and willow bones".
Liu Gongquan has many handed down works. The handed down steles include "Diamond Sutra Carved Stone", "Mysterious Pagoda Stele", "Fengsu Stele" and so on. Among them, "Diamond Sutra Engraved Stone", "Mysterious Tower Stele" and "Shence Army Stele" best represent his regular script style. Liu Gongquan's cursive scripts include "Fu Shen", "Sixteenth Day", "Hui Xiang Tie", etc. Their style still inherits the Wang family's style, with rigorous structure and natural unrestrained style. There are also ink inscriptions "Mengzhao Tie" and "Wang Xianzhi's Pear Sending Postscript". "Mengzhao Poster" on white linen paper, seven lines, twenty-seven characters. Now in the Palace Museum. His book was once engraved in the "Sanxitang Dharma Notes" of Qianlong, and he said that "the ecology is in danger, and the strength is on the right." The body posture is slightly graceful, vigorous and elegant. In addition, there is a "Purple Silk Qing Tie" in "Lanting Xu Tie", the text is different, Hanlin does not call it "Chu Shou", so it is suspected to be fake, and it must be drafted by a master in the late Tang and early Song Dynasty.
Yan Zhenqing, the Four Masters of Regular Script
Yan Zhenqing, (709--785), whose courtesy name was Qingchen, was born in Jingzhao ten thousand years ago. His ancestral home was Linyi, Langya, Tang Dynasty (now Linyi, Shandong). In the history of calligraphy, he is the most accomplished and influential calligrapher after the two kings. His calligraphy was originally written by Zhang Xu, who was one of the four calligraphers of the early Tang Dynasty. Later, he learned from the four masters of calligraphy in the early Tang Dynasty. He changed the ancient method and went against the style of calligraphy in the early Tang Dynasty. He used the seal script to transform the thin and hard calligraphy into plump and powerful. The structure is broad and magnificent, and the bones are strong and powerful. With a majestic spirit, this style also reflects the prosperous demeanor of the Tang Dynasty and is consistent with his noble personality. It is an example of the perfect combination of the beauty of calligraphy and the beauty of personality.
Yan Zhenqing (Yan style) of the Tang Dynasty: His regular script is dignified and majestic, and his momentum is open. He is known as "Yan style" in the world. His representative work is "Duobao Pagoda Stele".
Yan Zhenqing's calligraphy was learned at home, but the person who inspired him to change his calligraphy was Zhang Xu of Wujun. Because he was able to recruit from hundreds of schools and choose freely, the large number of letters he left behind is a testament to his skill. Every time historian Fan Wenlan mentioned Tang books in his writings, he said that "Yan Zhenqing of the prosperous Tang Dynasty was the creator of the new calligraphy style of the Tang Dynasty." Yan's regular script reflects the style of a prosperous age, with majestic characters; and his cursive style made Mi Fu of the Song Dynasty also admire this calligraphy. The reason is that those calligraphy letters were often written quickly in a state of extreme sadness and indignation. Readers can learn from this article Get a taste of it. Emotion melts into art, and artistry creates soul. All excellent arts in history do not violate this principle.
Yan Zhenqing is a giant in the world of calligraphy. For thousands of years, only Yan Lugong could stand up to the calligraphy sage Wang Xizhi and stride forward in the world of calligraphy. In the Tang Dynasty, Yan Zhenqing was regarded as the crown prince, while in the Song Dynasty, Yan's calligraphy was also regarded as the great book. Since then, Yan Zhenqing’s book soul has formed a huge force, and has accumulated into an important part of the Chinese nation’s book soul. "New Book of Tang·Biography of Yan Zhenqing" praises: "Although he is 1,500 years old, his heroic words are like the frost and the scorching sun, which can be feared and admired!" The heroic life of the sun and the moon is the constant source of inspiration for his wonderful calligraphy skills. Drain the source.
Ouyang Xun, one of the four masters of regular script
Ouyang Xun (557-641), courtesy name Xinben, was born in Linxiang, Tanzhou (now Changsha, Hunan). His greatest achievements in calligraphy are regular script, with strong penmanship and unique structure. Later generations called him "European style". Ouyang Xun (European style) of the Tang Dynasty: His regular script is rigorous and powerful, and he is known as "the first regular script of the Tang Dynasty" in the world. His representative work is "Jiucheng Palace Liquan Ming".
Ouyang Xun's calligraphy is square and straight, with a slight official style, strong and meticulous. Bao Shichen of the Qing Dynasty once said: "The fingering method of the European character is deep and solid, the force is penetrating to the end, and it is full of all directions, not to mention external force." That is to say, the European character emphasizes the fingering force, and the strokes written are strong and powerful, with inner strength, and are not excessive. It's lean but not too plump. Each stroke is one point too long, one point too short, and one point too short. The weight is appropriate, the length is appropriate, and just right. The use of European characters also pays attention to the strength of the middle part of the strokes. Some horizontal strokes look full in the middle, giving the impression of "central solidity"; the main strokes of some characters extend outwards, making the middle of the stroke more compact, especially the vertical strokes on the right half. , often exaggeratedly extended upward to show his superhuman courage. These are the unique features of European calligraphy pens.
I believe that if you read the article, you must have a certain understanding of the four famous masters of regular script. When we see the works of the four famous regular script masters, we should not always discuss who wrote the best, but should think about why they can express Chinese characters so well. To spur yourself to improve your writing skills.
