Li Jianzhong (945-1013), who was named Dezhong and named himself Yanfu Minbo, was a native of Jingzhao (now Xi'an, Henan). He moved to Shu and later served his mother in Luoyang, where he studied to support himself. In the eighth year of Taiping Xingguo's reign (983), he became a Jinshi in the Jiake Department, passed the doctorate of Taichang, went to Jixian Academy, and moved to Yuanwailang of the Ministry of Finance and a doctor of the Ministry of Industry. Jianzhong is simple and quiet, elegant and graceful, and is indulging in glory and wealth. He asked three times to control the imperial censor's station in Xijing, so he was known as "Li Xitai". Su Shi's "The Empress of Poems of Shuhe Jinglin Scholars" called it "remaining in Taiwan". During the construction, you loved the windy soil of Luo, so you built a garden and named it "Quiet Residence". He is good at chanting and leaves many questions every time he travels to the mountains and rivers. He died at the age of sixty-nine.
Jianzhong was good at calligraphy and was a famous calligrapher in the early Northern Song Dynasty. Zhen, Xing Yougong, many new styles, Cao, Li, Zhuan, Zhen, eight points are also wonderful. Judging from the circulated works, the style is vigorous and honest, basically following the calligraphy style of the Tang Dynasty, mainly due to Ouyang Xun and Yan Zhenqing of the Tang Dynasty, and blending the style of calligraphy of the Wei and Jin Dynasties. It has the characteristics of plump, delicate and majestic . Many people imitated his calligraphy and tried to standardize it. I tried Guo Zhongshu's handwritten "Collection of Khan Bamboo Slips" to dedicate to him. They were all written in Lidou style and were commended by imperial edicts. "Houshan Congtan" by Chen Shidao of the Song Dynasty said that "Li Xitai's calligraphy was studied by Zhang Congshen." "Dongguan Yulun" by Huang Bosi of the Song Dynasty said: "Xitai originally studied Wang Daling's calligraphy, but it was so restrained that Han Fei studied Huang Lao and Li Si's teacher Xun Qing Yes. However, the style of writing still has the style of the sages, and it is better than ever." Zhao Gou's "Han Mo Zhi" says: "After the fifth season of this dynasty, there was no calligraphy and painting to be called. Li Jianzhong's characters were thin and strong, and he only gained the reputation of the time, but he still hated it. There is no beauty." Huang Tingjian of the Song Dynasty said: "Xitai is outstanding, fat but not fleshy, just like the beauties in the world, with abundant muscles and graceful appearance." Mengfu of Zhao Yuan Dynasty said: "The book of Xitai has not been far away from the Tang Dynasty, but it is like the lingering wind of the Tang Dynasty. "Fashhu Yuan" by Wang Shizhen of the Ming Dynasty said: "I have tasted the ancient text "The Classic of Filial Piety" and studied it to the fullest extent." Only Su Shi commented: "Although Jianzhong Shu is cute, it is ultimately despicable; although it is despicable, it is ultimately incompetent." abandoned."
The calligraphy of the Tang Dynasty was inherited and developed by Yang Ningshi in the Five Dynasties and Li Jianzhong in the early Song Dynasty, and gradually formed the calligraphy of the Song Dynasty with distinctive characteristics of the times. There are relatively few calligraphy ink by Li Jianzhong that have been handed down to this day. Among them, "Tumu Tie" in the National Palace Museum in Taipei and "Tong Nian Tie" in the National Palace Museum in Beijing are the most famous.
