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The calligraphy world flourished in the Tang Dynasty, and many famous masters emerged. In addition to the well-known Ouyang Xun, Yan Zhenqing, and Liu Gongquan, there are many overlooked masters, such as Chu Suiliang, the "master of extensive education". Although he was not selected as one of the "Four Masters of Regular Script", his level is better than that of "Ouyang Xun, Yan Zhenqing, and Liu Gongquan".

Chu Suiliang came from a prominent aristocratic family. His father was good friends with Yu Shinan and Ouyang Xun, so his calligraphy was taught by the two masters and he inherited the orthodox style of the "Two Wangs". It happened that Emperor Taizong of Tang admired "Wang's calligraphy", so Wei Zheng recommended Chu and said: "Suiliang's writing is vigorous and very much in the style of Wang Xizhi".

At that time, Yu Shinan had passed away, and Emperor Taizong of Tang had no confidant with whom he could discuss calligraphy. Naturally, he was delighted to hear Wei Zheng give such a high evaluation. He immediately ordered him to serve as "Shishu" to organize the famous calligraphy works treasured in the palace and to authenticate the works of Wang Xizhi purchased by the public.

Because of this, Chu Suiliang saw many authentic works of "Wang Shu", deeply understood the techniques of Wei and Jin Dynasties, mastered the clever and colorful changes in pen use, and integrated it with small regular script to write "Beauty Calligraphy", with strokes that are graceful, empty and lively, breaking away from the rigid and regular momentum of "Tang Kai".

Take the "Album Leaf of Emperor Wen's Mourning" unearthed from the tomb of Emperor Taizong of Tang as an example. This work is a eulogy written by him for Emperor Taizong after his death. It has a total of more than 700 words. He put all his life's efforts into every stroke of the scroll, striving to achieve the highest level.

The brush is often used to hide the tip of the brush, which is wrapped and restrained, showing a rounded and smooth state without appearing rough. The brush strokes rise and fall, and the dots and strokes are firm and firm. The composition is coordinated with the brush, and the distribution is sparse and wide, which is very fluid and has a three-dimensional effect, showing the beauty of the ancients' majestic and moderate spirit.

Unlike the inscription by Weng Tonghe at the end of the scroll, all the changes such as strokes and twists are revealed on the outside, and the aura is more mellow and restrained, with the quaint and simple atmosphere of official script. The inner texture is rich, and the artistic style is varied. It can withstand the analysis of later generations and can be regarded as "the last sound in the calligraphy world". At that time, it overshadowed the "calligraphy saint" Wang Xizhi.

Even the always picky Mi Fu praised it, saying: "Among all the famous calligraphers of the Tang Dynasty, Chu Suiliang is the one who has learned the most from Xizhi. His regular script has the style of official script, and he has created his own style, which is unmatched by others. This book is probably written in his later years." He also said: "Nine movements and thousands of dances, cranes and egrets fill the courtyard, jade bells clang, and the graceful and harmonious characters are in harmony."

Mi Fu believed that his calligraphy was lively and beautiful, far better than those of several other "Tang Kai" masters, and no one in the Tang Dynasty could match him. This work was even more powerful. He did not dare to slack off in writing an elegy for the emperor. It can be regarded as the "peak work" of his life, and it is also the only remaining authentic small regular script of Chu Suiliang.

At the end of the scroll, Weng Tonghe wrote a postscript, which roughly describes the process of its circulation. The content says: "The fifty-six lines of Zhu's "Ai Ce" are no different from the engraved one, but are more vivid and lively... My ancestors once regretted it, and later gave it to He, who changed the scroll into a book, which is worth reading. The descendants of the Yan family may suspect that it is the authentic work of Mr. Chu."

This is enough to prove that it is an authentic work. Frequent copying can help you master the rules of "Tang Kai", improve the accuracy of pen use, and consolidate basic skills. At the same time, you can also write with a graceful and flexible sense of vividness without being bound, which is conducive to the formation of innovative thinking.

Now, we have made an ultra-high-definition reproduction of Chu Suiliang's "Emperor Wen's Mourning Album Leaves", using a museum-level, 12-color ultra-high-definition micro-spray reproduction process, and restored it 1:1 compared to the original. This product is a hand-mounted sutra-folding binding.

The fonts in the volume are extremely clear and more delicate than ordinary prints. The details such as the ink color, the brushstrokes, etc. are all clearly visible. Such exquisiteness is rare in the market, and it is the only one of its kind. It is exactly the same as the original. Seeing this product is like seeing the original. If you like it, you can click on the product link below to take a look.

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