Appreciation of Pavilion Style Calligraphy Works

Preface to the Orchid Pavilion was one of Wang Xizhi's masterpieces and was known as the world's first semi-cursive script. This work had a fresh and simple style, and the sentence patterns were rich in changes, reflecting Wang Xizhi's active outlook on life. His calligraphy was both hard and soft, and the lines were flexible. It had a contrasting beauty, which could show his transcendence and gentle inner charm. The Preface to the Orchid Pavilion was exquisitely written, and the stippling was like a dance. It was regarded as the best in the calligraphy world. Although it was not as good as Wang Xizhi's cursive calligraphy, as an elegant, elegant and unrestrained style of the era, no one could surpass or accompany it.

All the famous calligraphers of the past had created calligraphy works with the word "Fu". These works displayed the word "Fu" in different calligraphy styles for people to appreciate. Among them, there were five types of calligraphy: seal script, official script, regular script, running script, and cursive script. These works displayed the talent and artistic style of the calligraphers. For example, the character "Fu" written by Emperor Kangxi was considered to be a symbol of infinite mystery and infinite blessings. In addition, Wang Xizhi, Zhiyong, Ouyang Xun, Chu Suiliang, Yan Zhenqing and other ancient calligraphers also created exquisite works of the word "Fu". These works not only had artistic value, but also symbolized good fortune and good luck.

We are unable to provide pictures of Yan calligraphy works.

Liu Style Calligraphy was the general term for the calligraphy works of Liu Gongquan, the great calligrapher of the Tang Dynasty. Liu Gongquan was one of the four masters of regular script. His calligraphy was known for its strength and strength. He was known as the " Yan Jin Liu Gu ". The characteristics of Liu style calligraphy were clear and vigorous, vigorous posture, meticulous handwriting, and exquisite strokes. Liu Gongquan's regular script combined the characteristics of Yan Zhenqing and Ouyang Xun, forming his own unique style. Liu style calligraphy occupied an important position in the history of calligraphy and was appreciated and studied by many calligraphy lovers.

Heavenly Blessing Calligraphy was a form of art with an excellent meaning. It conveyed the pursuit of good fortune and beautiful things through the expression of calligraphy. These works usually used four words, such as " Heavenly Blessing ", where " Heaven " referred to heaven," Ci " referred to rewards and giving," Hong " referred to great things, and " Fu " referred to good fortune and beautiful things. These works were based on calligraphy and were complemented with flowers, bamboo, stone, and other elements to make the works richer and more complete. The Tianci Hongfu calligraphy works could be used to decorate the living room, bedroom, and other spaces. It could also be used as a wedding gift for friends. These works were full of ink, and the strokes were swift and unrestrained, giving people a pleasant visual enjoyment. In general, the calligraphy works of Tianci Hongfu were a meaningful and artistic form.

Elder Chang was a famous calligrapher. His works demonstrated his inheritance and innovation of Han Li art. His works include stone inscriptions such as Yi Ying Stele, Rites Stele, Huashan Stele, Cao Quan Stele, Zhang Qian Stele, etc. These works show the classic beauty of Han Li. He also created a series of works, such as Honest, Tea Ceremony, Filial Piety, Mother, Win-win Cooperation, Family Harmony, Rare Confusion, Heaven Rewards Diligence, etc. These works demonstrated his understanding and expression of traditional values. Elder Chang's calligraphy works had participated in many national and local calligraphy exhibition, and his creative ability had been widely recognized. In his calligraphy creation, he paid attention to copying the classic inscriptions and studied the rules and characteristics of the strokes and knots. He also drew on the works of other calligraphers, such as Wang Xizhi and Mi Fu's letters. Through comparison and learning, he formed his own unique style. Elder Chang's calligraphy works showed his respect for the ancients and his expression of his inner world. His works were filled with indifference and calmness. In short, Elder Chang's calligraphy was exquisite and unique, worthy of appreciation.

Jiao Yongtang was a young calligrapher from Hohhot City. His works had been exhibited many times in national and provincial professional exhibition. His small regular script works were delicate and exquisite, warm and beautiful, while the Wei stele style displayed a profound ancient meaning of being strong, rough and clumsy. Jiao Yongtang's works had the characteristics of both regular script and cursive script. His regular script contained the elements of seal script, official script, Wei stele and other calligraphy styles, while his cursive script was full of meaning and unrestrained atmosphere, showing the unique charm of ancient cursive script. However, the search results didn't provide any specific content about Jiao Yongtang's calligraphy works.

Fan Jianhua's calligraphy works did not mention the specific content or style in the search results provided. Therefore, the information provided about Fan Jianhua's appreciation of calligraphy was not enough to answer this question.

Appreciation of Calligraphy Works: 1 Preface to Wang Xizhi's Lanting Collection This was one of Wang Xizhi's most famous works and a classic in the history of Chinese calligraphy. The Preface to Lanting Collection was a preface that described the scene of Wang Xizhi and his friends gathering in Lanting, as well as his views on life and nature. Wang Xizhi's calligraphy style was smooth, free, elegant, and full of poetry and philosophy. 2. Su Shi's Ode to the Red Cliff This was one of Su Shi's representative works and also one of the most important works in the history of Chinese literature. The Ode to Red Cliff described Su Shi's experience in the Battle of Red Cliff during the Three Kingdoms period and his thoughts on war and life. Su Shi's calligraphy style was magnificent, his strokes vigorous and powerful, full of pride and ambition. 3 Yan Zhenqing's "Sacrificial Nephew Manuscript" This was one of Yan Zhenqing's representative works and a classic in the history of Chinese calligraphy. The memorial to his nephew was a memorial that described Yan Zhenqing's nostalgia and reminiscence of his deceased relatives. Yan Zhenqing's calligraphy style was calm, steady, refined, and beautiful, filled with deep emotion and historical significance.

There were many versions of the Preface to the Orchid Pavilion, including Wang Xizhi's original work, Feng Chengsu's copy, Zhao Mengfu's copy, etc. Wang Xizhi's Preface to the Orchid Pavilion was regarded as a model for running script by later generations. Li Shimin, Emperor Taizong of the Tang Dynasty, once ordered Chu Suiliang, Ouyang Xun, Feng Chengsu and other calligraphers to copy several copies and give them to his subjects. In addition, Feng Chengsu and Zhao Mengfu also had their own copies. For beginners, they could choose Feng Chengsu's copy to practice. In addition, there were some copybooks and practice methods for reference, such as practice magnified version, using color printing version, tracing red copybooks, etc. In short, the selection of the Preface to the Orchid Pavilion calligraphy copybook should be decided according to personal preferences and learning needs.