Xiao Kai Shan Zhi Law (selected pages) Wu Si bar paper
275 lines 17 words vertical 22. 6cm width 468. 8 cm
Collection of the Palace Museum in Beijing
Guoyi, a person of the taizong dynasty in the early Tang Dynasty (seventh century), is not known in the scriptures. Zhenguan (627-649) was born in the Middle Ages. Gongshu, the Ming Dynasty Dumu's "Allegorical Compilation" said that "its books are exquisite and clean and close to charming". Zhan Jingfeng's "Eastern Tu Xuanlian" of the Ming Dynasty mentions: "Tang Zhenguan Zhongjing Shengguo's interpretation of the edict was used as a finger-top Xu character, and the hard yellow paper book "The Law of Good Seeing" was used." The scriptures he wrote are the only ones he has ever seen. At the end of the volume of the "Law of Good Seeing", there is a Mingren Xu * Paizhong mentioning that the "Orchid Pavilion Order" stored in the family is a copy of the Chu people's state interpretation, and the "Law of Good Seeing" is also a work of fengyi, which shows that the national interpretation is not an ordinary scripture. The Tang dynasty wrote scriptures, most of which did not fall into the name, and some of them were famous but not celebrities, so in the past, the writers did not pay enough attention. In fact, due to the heavy study of calligraphy in the Tang Dynasty, especially in the Middle Tang And Sheng Tang, the level of calligraphy was generally very high.
Xiao Kai's "Law of Good Seeing" Silk Column on Paper, 275 lines, 17 lines, length 22.6 cm, width 468.8 cm, collection of the Palace Museum. The Tang dynasty wrote scriptures, most of which did not fall into the name, and some of them were famous but not celebrities, so in the past, the writers did not pay enough attention. In fact, due to the heavy study of calligraphy in the Tang Dynasty, especially in the Middle Tang And Sheng Tang, the level of calligraphy was generally very high. The "Law of Good Seeing" describes the matter of Shakyamuni's propagation of the Buddha, and at the end of the volume, the upper book is "The Book of the Law of GoodNess", and the next is signed "Zhenguan Twenty-second Year December 10th Interpretation". This volume is neatly written, the structure is evenly painted, the pen is flexible and skilled, and the weight is appropriate. The whole article is completed in one go, and the achievements are exquisite. The pen is exquisite, without a little oily and frivolous feeling and open and exposed. Horizontal gestures are sharp, steady and natural, elegant and dexterous, simple and straightforward.
The "Jingsheng Body" font is diverse, in addition to most of them are the orthography of the italics or the ones with each other, there are also simple and thick chapter grass and flowing present grass. The "Jingsheng Body" has both a strong sense of calligraphy and a pen method of using italics, inheriting the legacy of the Han Dynasty's Jian Mu calligraphy. The "Jingsheng Body" is rich in strokes and skilled in writing, because its formation time is the same as the age of the existence of the Second King, which can be used to glimpse the ink style of the Wei and Jin Dynasties, which is very similar to the writing style and pen method of Wang Xizhi's "Aunt Thesis" and "Seventeen Posts" that have been handed down from generation to generation, from which the temperament and charm of Wang Xizhi's calligraphy can be appreciated.
The writers of the "Scriptures" belonged to different classes of people, including officials in the government, swords and pens in the Yamen, scribes trained in monasteries, and some folk calligraphers. In the daily ink and sea pen cultivation, they directly express their chests, sprinkle letters and pens, use both square circles, flying pens, white branches, jagged, ups and downs, confusing, creating colorful excellent works, which are full of fresh and ethereal, simple and lovely atmosphere.
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