"Ni Kuan Zan", also known as "Er Kuan Zan",
Chu Suiliang's regular script and ink writing.
Ink scroll on black silk paper, 24.6cm in length and 170.1cm in width.
Now in the National Palace Museum, Taipei.
Many people in the past believed that this post was the work of Chu Suiliang in his later years.
Modern scholars use their habit of avoiding taboo words in their texts.
Unlike the situation in the Tang Dynasty,
Moreover, the writing style is also different from Chu's calligraphy, and its structure is more similar to European style.
It is believed to have been written during the Song Dynasty.
The strokes in this post are sparse and thin, and the gestures are full of frustrations.
The writing style is graceful and graceful, beautiful and wonderful.
Compared with the Chu Shu tablet, the style of this ink is consistent.
His brushwork is full of variety and his energy and force are even;
While showing a solid forward in every aspect,
They also often use light, flowing, flexible and natural pen and ink.
Start the pen lightly and finish it calmly,
The main strokes are stretched appropriately,
Give people a graceful, free and generous style,
A feeling of peace, elegance, and refreshment.
2. "Preface to the Holy Religion of the Wild Goose Pagoda"
"The Preface to the Holy Religion of the Wild Goose Pagoda"
Also known as "The Preface to the Sacred Teachings of Ci'en Temple",
It is a famous inscription in the history of calligraphy.
It was also written when Chu Suiliang was fifty-eight years old.
The work that best represents Chu Suiliang's regular script style,
The font is clear and strong, and the writing skills are skillful and mature.
Chu Suiliang had entered old age when he wrote this monument.
So far he has created a complete set of specifications for the new Tang Kai style.
Three "Yin Fu Jing"
"Da Zi Yin Fu Jing",
It is a work handed down from generation to generation by Chu Suiliang.
There are three types of "Yin Fu Jing" handed down from ancient times.
That is, cursive script, small regular script and large regular script. This is the large regular script.
The total number of words is 461, in regular script and ink script.
A total of 96 lines, totaling 461 words,
It is said that Chu Suiliang of the Tang Dynasty wrote it in the fifth year of Yonghui in the Tang Dynasty (654).
The strokes of his calligraphy are thin and strong, but the structure is broad and broad.
The writing style of official script is still retained.
"Da Zi Yin Fu Jing" is rich in writing.
There is a square and there is a circle, there is something hidden and something exposed.
Use side forwards to take advantage of the situation, twists and turns,
The stippling is extremely varied in detail and weight,
The official meaning can be discerned, leaning sideways without losing the center of gravity.
The middle palace is full and appears loose but not loose.
His writing is solid and his momentum is strong,
The Qi and pulse are smooth, honest yet charming, elegant yet dignified.
4. "Ode to a Dead Tree"
"Ode to a Dead Tree"
Only the engraved version has been handed down to the world, and it is inscribed in the fourth year of Zhenguan.
There are thirty-nine lines in total, totaling 467 words.
The style of the book is vertical and horizontal, with intricate changes.
"Tingyu Lou Tie", "Yu Yan Tang Tie",
"Xihongtang Tie", "Ninsu Yuan Tie", etc. are all income.
The most refined one is the one engraved in "Tingyu Lou Tie".
This ink mark was written by Zhao Mengfu in the third year of Dade, when he was 46 years old.
It is reported that this temporary work is not like the original work.
And the level of his works of the same period is quite different.
The authenticity deserves discussion.
5. Monument of Master Meng
"Monument of Master Meng"
The full name is "The Monument of Master Meng, the Master of the Supreme Virtue of the Capital",
Tang Dynasty official book inscription, written by Tang Cenwen and written by Chu Suiliang.
Inscribed in the 16th year of Zhenguan (642), the number of stele stones is unknown.
Only the Tang rubbings collected by Li Zonghan of the Qing Dynasty have been handed down.
There were Wang Shizhen and Wang Shimao in the Ming Dynasty,
Postscripts by Wang Shu, Wang Wenzhi, Li Zonghan and others in the Qing Dynasty.
The calligraphy on this stele is simple.
It is not similar to the flying and clear sky in "The Preface to the Sacred Teaching of the Wild Goose Pagoda".
The brushwork is mostly written in the official style, which is similar to the "Yique Buddhist Niche Stele".
Currently, Wenming Bookstore and Youzheng Bookstore are photocopying Li Zonghan's edition.
Linchuan Li's lithograph.
Chu Suiliang was forty-seven years old when he wrote "Master Meng's Monument".
This is his mid-term work,
Absorbing the advantages of his two teachers Ouyang Xun and Yu Shinan,
The pen is full of changes in weight, reality, ups and downs,
The structure is dense and dense, looking after and taking care of it.
The composition is meticulous and the momentum flows.
In creating a new style of regular script in the Tang Dynasty,
Chu Suiliang had a great influence.
Li Sizhen of the Tang Dynasty said in "Shuhoupin":
"Chu's Lin wrote about Youjun, and he was also a high-ranking scholar.
Gorgeous carvings are popular today.
But I hate the lack of nature, and I work diligently and carefully. "
This passage reflects Chu Shu’s
conditions that were all the rage at the time and their shortcomings.
