Does Du Fu have authentic calligraphy handed down from generation to generation?

Du Fu is famous for his poems in the art history of Tang Dynasty. His poems involving calligraphy help us to grasp the history of calligraphy in Tang Dynasty. Based on the calligraphy of Sui Suiliang and Xue Ji, he put forward the view that "calligraphy is precious, thin and hard, but its spirit is understandable", which is actually a summary of the history of calligraphy before Kaiyuan in Tang Dynasty. Zhang Xu's cursive script, Li Chao's eight-part essay and his opposition to advocating hypertrophy reflect the calligraphy situation in Kaiyuan period, thus establishing Du Fu's important position in the history of calligraphy theory. His calligraphy creation, both official script and cursive script, uses his brain as a whole. He appreciates the simple and magnificent style and pays attention to the speed, rhythm, brushwork and brushwork. He is also a hidden calligrapher in the Tang Dynasty. From his poems, it can be seen that his concept of calligraphy creation is undoubtedly mature.

Keywords: Du Fu's calligraphy, thin and hard, Kaiyuan creation

Du Fu and Li Bai can be described as two peaks of Tang Dynasty literature in poetry creation, but as far as calligraphy is concerned, the two schools have their own emphases. Li Bai, represented by Shangjietie, has a high level of calligraphy creation. Although Du Fu's calligraphy works handed down from generation to generation include Liang Chuankui's Poems and Stone Carvings, Gu Baixing and so on. Tao in the Ming Dynasty recorded the following in the book "History of the Society": "Du Fu ... was open-minded and not introspective, so he was good at discussing world affairs, and his poems were good at telling current events and were famous for his poetry history." Those who work in Kaili have no work to do. "However, most of his calligraphy creations are ignored by the world, and Du Fu's position in the history of calligraphy is mainly determined by his poems. His books and poems had a great influence in the middle Tang Dynasty and beyond. This paper discusses Du Fu's position and contribution in the history of calligraphy from two aspects: calligraphy theory and calligraphy creation.

1. Books are expensive, thin and hard-Du Fu, the mainstream calligraphy before Kaiyuan in the Tang Dynasty, often mentioned Shu Suiliang and Xue Ji in his poems on books, such as "Forty Rhymes to Send the Prince to Stay in Bohua, Xiazhou"? Quot Learn from Lu and Xue Neng. Fatanzhou: "The Jia family has no talent, and the official book is unparalleled." I was deeply impressed by the calligraphy of Yan and Xue Ergong. Yan Suiliang and Xue Ji were both "four masters of regular script" in the early Tang Dynasty, with similar styles. In the history of calligraphy, there was a saying that "you can learn when you buy it, without losing its festival". Among Yan Suiliang's works handed down from ancient times, The Preface to the Sermon of Yanta is his masterpiece with mature style. His calligraphy style is characterized by thinness and strength, which is a typical representative of Du Fu's so-called "book is expensive but thin and hard". The Book and Postscript of Guang Chuan written by Dong Ti, a scholar in Song Dynasty, is called "thin and strong" and "thin and hard, fluent and spiritual". In the Qing Dynasty, Wang Shu wrote "Preface to the Holy Teaching of the Wild Goose Pagoda in Henan": "Commentators say that this book is like' Yao Tai is green and secluded, reflecting the spring forest, beautiful and beautiful, and Luo Qi can't compare it. In Henan, Wu Zhaoyi was established, which led to extreme protests, kowtowing and bleeding, lying on the ground and saying, "Give it back to your majesty." What's the difference between its spine and stone? It is advisable that his brushwork is as fine as wire, and the so-called' only what he does'. Commentators are similar to those who are weak and ignorant of the public. And Xue Qi's calligraphy, Wang Xuzhou's inscription on the virtual boat, is called "slender pen, circulating words, not a family." "For his big characters, Du Fu's" Viewing Xue Ji Shao Bao's Painting and Calligraphy Wall "praised:" Shao Bao has an ancient style and won the suburbs of Shaanxi. I'm sorry for my fame, but what I saw was calligraphy and painting. I went to the east of Zizhou, by the Fujiang River. Painting hides the world of violets, and books hang on the golden list. Hold your head up, don't collapse, and don't squat. The word "melancholy" means that dragons are entangled with each other ... "Mi Fei's" Famous sayings of the sea and the moon "does not agree:" The poem "Xuepu Temple" written by Lao Du says that the word "melancholy" means that dragons are entangled. Today, I want to look at the stone, but I draw the outline of the inverted pen. The pen is like a steamed cake. The word' Pu' is like a person holding two fists and standing with his arms outstretched. It is ugly and difficult. Theoretically, there was no truth in ancient times. " "Xue Huipu temple, Lao du thought" dragon bound ". Today, seeing its origin is like holding a steamed cake. I believe old Du Can can't write. The word "melancholy" has disappeared so far, but Du and Mi have come to the opposite conclusion in the face of the same book. Who is right and who is wrong? Sha Menghai's Notes on Famous Sentences of Haiyue commented: "Although Xue Ji's calligraphy is good, it is thinner and harder than it. Reversing strokes is one of the methods of calligraphy in Tang Dynasty. Later generations may call it' hiding pens' and' returning pens', but Mi Lao doesn't like this method. "The reason is that Mi Fei's criticism is mainly based on his own calligraphy view. Mi Fei's understanding and flexible use of the brushwork of the two kings is rare in the history of calligraphy, and its starting point and angle are naturally different from that of Du Fu, a poet and calligrapher. But what about Du Fu? Quot thin and hard ",Mi Fei agreed very much:" The official letters of the Tang Dynasty are the body of Qi, Lu and Xu Jiao, which is very good. Kaiyuan has come, because the Ming emperor's font is fat and vulgar, there was Xu Hao at the beginning, which was good for the time, and the new words were also fat since then. " The beginning of the new century is a thing of the past, and it will never happen again. Yan Zhenqing, Zhang Xu, Xu Hao and Xuanzong were famous calligraphers in the Kaiyuan period of the Tang Dynasty. Due to Xuanzong's pursuit of calligraphy and political status, many people, including Xu Hao, took the monarch's preference as a means to promote their career, and an aesthetic tide characterized by advocating fullness was formed all over the country. Not only calligraphy, but also other arts such as sculpture, figure painting and so on have this feature. Du Fu was in it, but he didn't realize clearly that the change of people's aesthetic orientation has become the general trend. Only then did he realize that the calligraphy atmosphere of advocating hypertrophy was very different from that of Zhenguan period. Based on this, he greatly appreciated the thin and hard-core calligraphy style represented by Shu and Xue before Kaiyuan.