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There are "two great miracles" in Tang Dynasty calligraphy. The first is the rigorous and regular regular script, and the second is the wild cursive script that subverts tradition. If we list the masters of "Tang regular script", including Ouyang Xun, Li Beihai, Yan Zhenqing, Liu Gongquan, etc., there are countless, but if we count the top masters of wild cursive script, there are only Zhang Xu and Huaisu.

Some ancient calligraphers claimed that Zhang Xu's cursive calligraphy was better than Huaisu's, because Zhang Xu's strokes were plump and strong, while Huaisu's were thin and vigorous. In contrast, the lines were fat but not greasy, which was more rare than simply thin and hard, so they believed that Zhang Xu was better than Huaisu.

This view is indeed reasonable, but there is a loophole. They did not refer to Huaisu's middle and late calligraphy. Although Huaisu's early handwriting was as thin as silver thread, after inheriting the ancients' brushwork in middle age, broadening his horizons, and learning from nature, his cursive calligraphy became fuller and more condensed, with a richer texture.

Moreover, Jiang Zhiqi once said:"Cursive script has wonderful ideas, and only Huaisu has mastered it"Li Bai happened to come across Huaisu's cursive calligraphy and was shocked by its momentum. He also said, "His cursive calligraphy is unparalleled in the world." He believed that Huaisu's calligraphy was unrivaled in the world.

For example, appreciate the rare "masterpiece of cursive calligraphy" "Fengliu Tie", the content of which is derived from the "Book of Jin" in the "Twenty-Four Histories", and is selected from a part of the "Biography of Wang Xianzhi", which is roughly calligraphy reviews by Wang Xianzhi, Wang Qia, and Wang Xun.

Huaisu copied it when he was 49 years old. At that time, his brushwork was mature, and his cursive calligraphy was unrestrained and fluent. As He Shaoji said: "The beauty of Huaisu lies in the absence of starting and ending marks. The Zhang (Zhang Xu) before him and the Huang (Huang Tingjian) after him are both superior to Master Su."

Huaisu's brushwork adheres to the principle of "The concept of "starting without cause and ending without trace"The starting and ending strokes are extremely natural, giving people a sense of continuity, smoothness and unpredictability, just like the character "中", which is written with the tip of the brush hidden in the paper, forming a small tail, which smoothly connects to the curved strokes behind it, and its momentum is extremely calm.

The same is true for finishing a stroke. Instead of ending the stroke directly with the pen lifted, the pen is adjusted according to the stroke peak and drawn back. The shape is more of a sudden change, which makes the ink color more condensed and connects with the next character.When using the brush, we strive to "retract everything that is drooping and collect everything that is going out"., always keep the center running.

The ancients often said that "the way of using a brush remains unchanged throughout the ages." A skilled calligrapher can always adjust the peak and return to the center state, no matter how the font changes. This not only gives a vigorous and elegant feel, but also shows a free and unrestrained personality, with a rich and colorful style.

It can be said that the brushwork of Jin and Tang dynasties is fully utilized.As for the composition and word formation, the layout is dynamic and staggered, open and stretched. Under the unified central axis, the opening and closing density, thickness and lightness, slow and fast show the flowing and unrestrained artistic spirit.

Because of the exquisite technique of Fengliu Tie, it has been kept secret and rarely shown to the public.It has only been publicly exhibited once, and few people in the calligraphy world know about it. It is considered a "precious secret treasure" in the cursive script world., frequently copying this work can improve the strength and flexibility of the brush, master the pure cursive calligraphy techniques and the style of the Jin and Tang dynasties, and stimulate one's own artistic creativity.

Today, we have reproduced Huaisu's "Fengliuti" in ultra-high definition, using museum-level, 12-color micro-spray reproduction technology, and restored it 1:1 compared to the original.This productSoHand-framed sutras, using folding design, easy to copy and find.

Modern Chinese characters are added to the text to help beginners read. This work is not yet popular.It is extremely rare in the market.One of a kindThe fonts in the volume are extremely clear and the details are clearly visible. It is more restored and delicate than ordinary prints and 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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