Founder Juan _ What constellation is Founder?

In addition to Wang Qian, the famous calligraphers are

Wang Xianzhi: Zi Amethyst, official slave of posthumous title, the seventh son of Wang Xizhi. He was an official and a secretary, so he was called "Wang Daling". When he was a teenager, he showed a special talent for calligraphy. On the basis of learning his parents' calligraphy, he created a "new style" with an open posture, beautiful style and continuous strokes. The "Tuo" brushwork created by him has formed an open structure, which can better show the vertical and horizontal movement of brushwork and is an important contribution to the development of cursive script.

Wang Xianzhi's cursive script "Duck Head Pill Knot" is fluent and beautiful. Twenty-nine posts is a running script with cursive characters in the middle. Elegant style and rhythmic change. The December Post has a unique style, with alternating lines and letters. The brushwork is "non-grass and non-line", but it has a strong grass meaning. There is also a small regular script "Thirteen Lines of Luo Shen Fu", which is beautifully carved and almost authentic. Its structure is broad and carefree, its pen is powerful, and there is a look between the lines. This shows that Wang Xianzhi's calligraphy inherited his father's style and developed, but it failed to reach the level of Wang Xizhi.

Sun: The master of cursive script in the early Tang Dynasty, whose date of birth and death is unknown, was a man and pious during the Wuhou period. His calligraphy work "Preface to Book Spectrum" handed down from ancient times is cursive ink. Calligraphy style inherits the two kings, and the pen is fluent and clever, which is a model for learning cursive script. The Preface to Book Spectrum is a profound article by calligraphy theory, which reflects his view on calligraphy and represents the theoretical achievements of calligraphers in the early Tang Dynasty.

Four schools in the early Tang Dynasty: Ou Yangxun, Yu Shinan, Yan Suiliang and Xue Ji. Ou Yangxun and Yu Shinan entered the Tang Dynasty from Sui Dynasty, which laid a solid foundation for the unification of calligraphy style and the establishment of regular script rules in the early Tang Dynasty. Ou Yangxun, in particular, had a profound influence on later regular script.

Ou Yangxun (AD 557-64 1) was born in Linxiang, Tanzhou (now Changsha, Hunan). He is a beginner of Wang Xizhi. He strives to be bold and unconstrained with his pen, with strict structure, strict statutes and high style. In the early Tang Dynasty, it became a style of learning calligraphy. He was instructed by the emperor to teach calligraphy in Hong Wen Pavilion. Through inscriptions, his handwriting was widely circulated. Most of the books handed down from ancient times are commemorative works, and several running scripts are handed down by ink. The inscriptions mainly include the Buddhist monk Taming of Huadu Temple, Li Quanming of Jiucheng Palace, etc., and the ink is Hans, Montitie and thousands of words in running script.

From the monument of Li Quanming in Jiucheng Palace, we can clearly see the artistic style of European calligraphy, which is tight and steep, and shows the artistic style of European calligraphy with standardized strokes and thin strokes. Meng Diantie handed down from ancient times reflects Ou Yangxun's cursive style. This post was written by Ou Yangxun in his later years, and his brushwork is great. It not only has the meaning of Wang Xizhi's Preface to Lanting Collection, but also loses the European style of calligraphy, and is rated as the first running book in Europe by later generations.

Yu Shinan (AD 558~638), born in Yuyao, Yuezhou (now Zhejiang), was named Bo Shi. When he was young, he had a literary name, was knowledgeable, was good at opening molds, and was good at cursive writing, which won the appreciation of Emperor Taizong. His calligraphy is round and smooth, and his composition is elegant. His works handed down from generation to generation include Monument to Confucius Temple, Epitaph of Princess Runan, Preface to Lanting, etc. The Confucius Temple Monument is Yu Shinan's calligraphy masterpiece. The monument was burned down soon after it was built. So there are few rubbings. His book stands upright and generous, beautiful and elegant, with moist brushwork, bone strength and implicit beauty. The Epitaph of Princess Runan is ink calligraphy, with a wide and tight structure, a steady pen and a smooth composition.

Chu Suiliang (596~658 AD) was a good man and a native of Qiantang (now Hangzhou). He merged the calligraphy of the two kings and Yu Shinan, and formed his own family. His brushwork is thin and hard, and his attitude is beautiful. Handed down from ancient times, there is the preface to the sacred instruction of Yanta.

Yan Gu: Yan Jin refers to Yan Zhenqing's calligraphy features, and Liu Gu refers to Liu Gongquan's calligraphy features.

Yan Zhenqing (709~785 AD) was a minister, a native of Jingzhao Wannian (now Xi, Shaanxi) and a native of Linyi, Shandong. He used to be the governor of the plain, known as "Yan Plain". During the "An Shi Rebellion", he was named the founding father of Luxian County because of his merits, so he was also called "Yan".

Yan Zhenqing became an excellent calligrapher in Xu Hao in his early years, and later studied under Zhang Xu. His early representative calligraphy works include "Multi-tower Induction Monument" and "Remnant Monument of Confucius Temple", which are vigorous in brushwork and rigorous in structure. In middle age, the style of the book is heroic and delicate, with a broad structure and an elegant atmosphere. Representative works include The Portrait of Dong Fangshuo and Ode to Zhongxing. Ode to Zhongxing, also called Ode to Zhongxing in Datang, is carved for merit. It is to quell the "Anshi Rebellion" and praise the records of the resurgence of the Tang Dynasty. His book style is magnificent, which is the completion of a typical style of calligraphy. In his later years, Yan Zhenqing's calligraphy style was superb and vigorous, which combined his simple personality with Qingyuan's elegant artistic style. Representative works include Magu Xiantan, Li Bei, Yan Bei, and Confession Post. Ma Gu Xian Tan Ji was written by Yan Zhenqing when he was the secretariat of Fuzhou, passing through Ma Gu Mountain in Chengnan, Jiangxi. Its structure is full of gas, its writing is restrained, and its shape is simple and elegant, which is highly praised by calligraphers of all ages. The Li Yanqin Monument is a tombstone erected by Yan Zhenqing for his great-grandfather when he was 7 1 year old. It is one of Yan Shu's masterpieces in his later years. This well-preserved monument is an excellent model for learning Yan Shu. Its knot shape is vertical and long, tight on the top and comfortable on the bottom, which looks tall and straight. The combination of pen and Fiona Fang is flexible and refreshing. The whole monument is majestic and magnificent. Confession Post is the only regular script work handed down from ancient times in Yan Shu's ink. You can learn how to use his pen through this post.

Yan Zhenqing's representative cursive scripts include Sacrifice to My Nephew, Contention for Seats, Liu Zhongshi and so on. Sacrifice to My Nephew is a commemorative manuscript of his nephew Ji Ming, which is now in the National Palace Museum in Taipei. The Draft for Sacrificing a Nephew is moistened with ink, vivid and smooth with a pen, vigorous and vigorous. Because of the concentration in drafting, there are many thirsty pens and exposed faces, and the style changes with the ups and downs of feelings, expressing the author's grief for the deceased. It is praised by later generations as the second running book in the world. The book Competing for Seats, published in Guangde in the second year, is a political manuscript. In the book, Wang Guoying of Dingxiang County angrily denounced the behavior of destroying court etiquette in order to please powerful people. The letter of this post is straight, and there is anger and pity at the bottom of the pen. The iron hook and silver hook perfectly reflect his honest political feelings. Miffy called it "the best book in the world". Some people think that it is no less than Wang Xizhi's Preface to Lanting Collection. Yan Zhenqing's calligraphy works are outstanding representatives of calligraphy art in the prosperous Tang Dynasty. Yan style is widely respected by social culture and has a far-reaching influence on later generations.

Liu Gongquan (778-865 AD) was a famous minister, and Jingzhao Huayuan (now Yaoxian County, Shaanxi Province) named Shao Shi, the founding king of Hedong County, as a prince, so he was later called "Liuhe East". Liu Gongquan enjoyed a very high title before his death, and the government and the people paid a high price for his calligraphy. He studied the calligraphy of Yan Zhenqing and Ou Yangxun first, and then created his own calligraphy style. Later generations called him and Yan Zhenqing "Yan Gu". His handed down works include The Diamond Sutra Engraving Stone, Mysterious Tower Monument, Shence Army Monument and so on.

Engraved The Diamond Sutra, written by Liu Gongquan when he was middle-aged, is an orphan of Tang Tuo and is now in the Paris Library. This tablet is thin, hard and healthy, restrained and full of strength. It has begun to take shape, but there are still traces of Zhong, Wang, Ou, Yu and Shu. The Monument to the Xuanta was written by Liu Gongquan in his later years and is Liu Shu's masterpiece. Its pen is solid, undulating and peaceful. Liu Shu's pen emphasizes the strength of bones, the strength of strokes, both horizontal and vertical, and there is no slack throughout. "Shence Army Monument" is called "Emperor Xun Xing Zuo Shence Army Ji Shengde Monument", which was published in Huichang for three years, but the original monument was lost early. This monument is exactly the same as the mysterious tower monument, except that the pen is stronger and the weather is particularly strict. After Yan Shu, Liu Gongquan injected new aesthetic factors into regular script, changed "Yan Jin" into "Liu Gu", and formed another representative regular script style with strong strength.

Li Yong: (678-747 AD) was born in Jiangdu, Guangling (now Yangzhou, Jiangsu). During the Kaiyuan period, he served as the prefect of Beihai and was called "Li Beihai". He is the most accomplished calligrapher after Xue Qi and before Yan Liu, and created a heroic running script style. Representative works include Li Sixun Monument of General Yunhui and Lushan Temple Monument. His calligraphy is complete and dangerous, and his pen is dynamic and vigorous, forming a bold and free and easy artistic style.

Zhang Xu: Born in Wu Jun (now Suzhou, Jiangsu) with unknown date of birth and death. Activities in the Tang Kaiyuan, Tianbao years. Zeng Guanzuo was a long history of leading the government, and later he was called "Zhang Changshi" and "Grass Sage". In Xuanzong's reign, Li Bai's poems, Pei Min's sword dancing and Zhang Xu's cursive script were the three best. Zhang Xu is a heavy drinker. He often gets drunk and curses when he is drunk. The world called him "Zhang epilepsy". Zhang Xu inherited the legacy of the two kings and started cursive writing. Works handed down from ancient times include Abdominal Pain Post in cursive script, Four Ancient Poems and Preface to Langguan Stone in Shangshu Province in regular script. Abdominal Pain Sticker is full of rhythm, changing with writing, pressing, turning and folding. "Four Ancient Poems" takes the pen as a surprise, the layout structure changes greatly, the momentum continues, and it develops with the rules. From "Four Ancient Poems", we can see the change process from this kind of grass to wild grass. Jin Cao, represented by the two kings, has a relatively stable aesthetic style in both structure and pen. Words are not related to each other, but to their meanings. Pen and pen care for each other attentively, and the connection between pen and pen is often more virtual than real. Zhang Xu's cursive script changed the above aesthetic methods from structure to pen. Structurally, the strokes of characters can be spread in all directions, and words can be deeply connected or even interspersed with each other. The movement factors of strokes on the pen have been greatly enriched, fast or slow, light or heavy, or ill or astringent, and various changes have caused sharp contrast, making the pen refer to anything. Composition, the rhythm between the lines is no longer so clear, but full of stirring spatial changes, which are unpredictable because of Zhang Xu.

Huai Su: The word hides the truth, and the common surname is money. He is from Changsha, Hunan. He studied calligraphy with Yan Zhenqing and established his own family on the basis of studying with Zhang Xu. Handed down works include autobiographical posts, bitter bamboo shoots, cursive thousand-character essays, essays, fish posts and so on. "Self-report Post" is now in the National Palace Museum in Taipei, which contains his self-report on calligraphy and contemporary comments on his calligraphy art. Throughout the book, the pen is strong and euphemistic, and the rich changes in writing style make the structure swaying and the brushwork exquisite, so it is praised as a wild grass work in past dynasties. Bitter bamboo shoots is a short book, with clever pen, rigorous brushwork, extremely refined strokes and full of paper. The style of the book is similar to eating fish sticks, and it is a masterpiece in notes. , money, Liang Shuming, etc. On behalf of his regularity in cursive writing, it shows that he inherited the charm of Wei and Jin Dynasties, and his pen kept changing vertically and horizontally, and he was able to learn from the two kings and turn it into nature, which reflected his ability to grasp the mystery of cursive writing.

Huai Su inherited Zhang Xu's calligraphy style and changed it. He didn't pay attention to natural circulation like Zhang Xu's cursive script, and the structure of words didn't become introverted like Zhang Xu's opening. He contracted his passion in writing, and made the white line return to the two kings and grass with a pen, but it was different from the composition of grass. He expressed his passion without losing elegance, and created a more memorable cursive script.

Yang Ningshi: (AD 873-954) was born in Huayin (present-day Shaanxi). The surviving ink marks are immortal living stick, summer heat stick and Jiuhua stick. "Immortality Law Post" is naive and indifferent. It seems to be random when written, but it is rich and natural. Mi Fei evaluated it as "such as cross wind and oblique rain, falling paper clouds, dripping water quickly." "Summer Hot Post" has a vigorous pen, calm manner and novel conception, which has a great influence on the book style in Song Dynasty. Jiuhuatie's style is simple and vivid, and it is innovative while learning from the ancients. The composition of this post is unique and innovative. The space between words makes the aesthetic space of calligraphy more relaxed, which has a great influence on later generations, especially on Dong Qichang's calligraphy in Ming Dynasty.

Su Shi: (A.D.1037-101year), the word Zhan, was named Dongpo lay man. Meishan people in Sichuan. His calligraphy is innovative in statutes and pays attention to boldness. Dongpo is good at running script, but his basic knowledge is regular script. From the tablet of Luochi Temple, it can be seen that his regular script was born out of a beautiful face, with a low left and a high right, and borrowed from the side, while the ink-and-wash regular script "Qian Chi Bi Fu" tried to stretch out in the square, with a flat structure, natural bones and natural posture. Dongpo's running script was taken from Erwang, Li Yong, Yan, Liu, etc. And absorb its essence, but not confined to one family, create a dignified and graceful Soviet-style running script, such as cold food poems. "Cold Food Poem Sticks" has a variety of pens, hidden front in the turn, horizontal structure, sometimes vertical font, rich brushwork, loose style, rich appearance and full bones and muscles, and is called "iron-wrapped pure cotton" by later generations.

Huang Tingjian: (A.D.1045-105) Lu Zhi was a rich man in Fenning, Hongzhou (now Xiushui, Jiangxi). He is good at cursive script, and regular script is his own. Although he is a master of Dongpo, he avoids the importance everywhere. Dongpo is still temperament, and the valley is elegant. Dongpo is unfolded with a pen, and the valley is collected with a pen. Dongpo is broad and horizontal, and the valley is tight and vertical. Huang Tingjian's cursive script benefited from Zhang Xu and Huai Su, and his pen was tight, thin and vigorous. He often turns it into a cursive script with the original pen, which is a new development compared with Huai Su's pen.

Mi Fei: (A.D.1051-kloc-0/107), with a stamp, a history of the sea and the moon, a full history of Xiangyang, etc. I learned first, from Yan to Liu, while Europe and Qi learned the most, and then I learned the French post and got the Wei and Jin Dynasties. His cursive brushwork does not lose the legacy of the king, and the words are not connected. It is intended to look around and use the pen to borrow the momentum, and the light pen is full of ink. There are many rice learners in later generations, which have the greatest influence on calligraphers in Ming and Qing Dynasties. He is not only a calligrapher, but also a calligraphy critic. Famous works handed down from ancient times include Shu Sutie and so on.

Zhao Mengfu: (A.D. 1254- 1322) Zi 'ang was a passerby in Song Xue. He studied Zhong You, Shu Suiliang and Zhi Yong in calligraphy, and further studied the two kings. After middle age, he formed his own style and was called "Zhao Ti" by later generations. His calligraphy is the best of all schools, paying attention to the use of pens and having a rigorous structure. The brushwork is tactful and smooth, which is deeply loved by people. After the age of 60, the style of calligraphy became old and free, the brushwork became more profound, and the composition gradually entered the realm, eventually becoming an epoch-making figure, which had a great influence on the art of calligraphy and painting in China after the Yuan Dynasty.

Zhu Yunming: (A.D. 1460- 1526) was born in Shan Zhi, Changzhou (now Suzhou, Jiangsu). He once lived in Yingtianfu, Nanjing, so he was called "Zhu Jingzhao". His calligraphy methods are extensive and have been studied by famous calligraphers in past dynasties. In his later years, he changed his physique and entered a generation of great men. He is good in all aspects, especially cursive. He combined the composition of the two kings with the brushwork of weeds. Although the words are not connected, the pitch changes from time to time, the lines are interspersed like dragons, the pen is powerful, and the idea is subtle and novel, which reflects his genius as a scholar.

Wen Zhiming: (A.D. 1407- 1559) is famous for his calligraphy. At the beginning, I learned the calligraphy of the two kings from Li Yingzhen (Zhu Yunming's father-in-law). In my later years, I liked calligraphy and made innovations. His regular script skills are profound, the style is rigorous, the small script takes the charm of two kings, the structure is freely retractable, the density is proper, and the pen is vigorous and refreshing, showing exquisite calligraphy skills. The cursive script is from Wang Jiachuan, with profound skill and soft brushwork. The combination of cursive script and Huang Tingjian's brushwork in his later years reveals the old meaning in elegance, and the brushwork is vertical and horizontal without losing the purpose of gentleness.

Dong Qichang: (A.D. 1555- 1636), also known as "Sibai" and named "Xiangguang Jushi". Huating (now Songjiang, Shanghai) was a master of calligraphy, and his calligraphy was inspired by the ancients. His works are rich and varied in style. He learned from the ancients and paid attention to the embodiment of the inner spirit, not seeking the outside. He studied structure, brushwork and composition, and formed an elegant and exquisite calligraphy style. The literati calligraphy he created had a great influence on calligraphers in Qing Dynasty.

Xu Wei: (A.D. 152 1- 1599) was born in Tianchishan and Yin Shan (now Shaoxing) in his later years. His calligraphy had the legacy of Huang Tingjian and Mi Fei in his early years, but it became unrestrained and full of paper in his later years. He is good at cursive writing and writing with a pen. Seeking balance in the turmoil, the dripping ink is like a portrayal of his life.

Wang Duo: In the late Ming and early Qing Dynasties, his calligraphy was famous for its boldness and calmness. His calligraphy is good in all aspects, such as regular script, running script, cursive script and official script. Official script is full of ancient meaning, and its style is calm and square. His cursive script is the highest achievement and can best reflect his artistic style. He is a beginner of Erwang, learning from Zhong You in lower case, and then learning from Tang and Song Dynasties. He learns from others and becomes a whole. His pen is continuous and thick, with dense structure and strange meaning. He writes freely and freely, and his book style has a great influence on later generations, especially in contemporary China and Japan. His representative works include four running scripts and Du Fu's poems.

Fu Shan: (A.D. 1606- 1685) was born in Shanxi Yangqu (now Taiyuan). Calligraphy is true, anti-slavery, and advocates that "Ning Zhuo is not clever, rather ugly than flattering, rather piecemeal than smooth, rather rash and not arranged." His cursive script typically embodies this idea. He is good at all kinds of calligraphy, and his skill in seal script is profound. He catches up with Zhong Wang in small letters and has studied many people in Jin, Tang, Song, Yuan and Ming Dynasties, forming the aesthetic idea that "books are important to people". The cursive brush is vertical, the front is tumbling and the structure is ups and downs. He often uses the contrast of big rhythm to create the momentum of composition, the density between words and the ups and downs of opening and closing. The style of writing is either crude or smooth, which makes people feel that the wind is sometimes lingering and sometimes passionate. It shows the inner world full of sincere feelings through scattered papers, which is touching and gives people a profound artistic appeal.

Liu Yong: (A.D. 17 19- 1804) was born in Zhucheng, Shandong. Starting from Zhao Mengfu and Dong Qichang, he extensively absorbed the essence of Jin, Tang and Song dynasties, and in his later years, he learned from Beibei, developing a vigorous calligraphy style. He likes to use lanolin and thick ink to make the brush strokes turbid, with strong brush strokes, thick ink, clear composition and elegant bearing.

Badashan people: (A.D. 1626- 1705) surnamed Zhu Mingdian, from Nanchang, Jiangxi. Ou Yangxun is a beginner in calligraphy, followed by Dong Qichang and Cuo and He Ming. In early calligraphy, whether using a pen or a knot, the long ones were always long and the short ones were short. Writing a book is like painting, which makes the words strange and the pen strange, so it is the pioneer of painting a book. In the later period, calligraphy gradually became old and dull, and there were fewer and fewer marks at the beginning and end of strokes, and fewer and less cursive references, which was a quiet atmosphere. This kind of atmosphere can be understood from his Notes on Flowers on the River and Heart Sutra in Lower Case. The running script Ode to Liu Ling's Wine Morality, influenced by Huang Tingjian and Cuoheming, has a long momentum.

Shi Tao: (A.D. 1642- 1724), whose legal names are Yuanji and Shi Tao, also known as Blind God, Didazi, Chen Ren of Qing Xiang and Bitter Melon. A native of Quanzhou, Guangxi, whose common name is Zhu Ruoji. Calligraphy began from ancient times, and it was good with books, folio, running script and cursive script. In particular, it can be used for each other, which makes people wonder whether it is regular script, folio, running script or cursive script. It is simple and naive, and it is like a book and a picture. In his paintings, there are often many themes, especially long postscript. Calligraphy, as the language of his painting, is very important, and its calligraphy style has a great influence on later painters.

Jin Nong: (A.D. 1687- 1764) is a gatekeeper, nicknamed Dong Xin, alias Qujiang Waishi, etc. Renhe (now Hangzhou) people. Calligraphy is good in all aspects, especially the self-made lacquer book with unique style. Write a book with thick ink and brush. Influenced by the Six Dynasties steles, knife brushwork, pen tip and blade, and the thick and dense structure of French calligraphy, the Han and Wei dynasties formed a trend of being wide at the top and narrow at the bottom, thick and thin horizontally and vertically, dignified and noble, and full of vitality. Cursive script is also mixed with regular script and official script, which has a unique charm.

Zheng Xie (A.D. 1693- 1765) was originally named Croft and Banqiao. Xinghua, Jiangsu Calligraphy has been painstakingly studied by various schools, and finally it is mixed with truth, grass, seal and official script, and it is named "six and a half books". His calligraphy can be said to be full of paintings, and his paintings can also be said to be full of books. This kind of writing, from writing, pen to composition, is full of painting feeling. There seems to be a modality between the pitching of the strokes, and there seems to be a pause between the stretching of the strokes. The composition is even more patchy, and the location is comfortable and comfortable. No matter how big or small, it goes with the flow, such as "paving the road with stones". No matter whether it is elegant or not, it has its own leisure.

Deng Shiru: (A.D. 1745- 1805), a native of Wanbaishan, Huaining, Anhui Province, was a famous calligrapher and seal engraver in Qing Dynasty. Everyone can do it, especially Li and Seal. Its regular script is taken from Weibei, and the official script refers to the meaning of seal script with a pen, which is compact in structure and integrates the length and integration of Han steles. His seal script, especially the "Jade Rib Seal", created a new style with changeable posture. His masterpiece is Four Praises of Geng Xin.

He: (A.D. 1799- 1873) Zizhen was born in Daozhou, Hunan. Calligraphy is a beginner in Europe and China. He studied under Wang Youjun and Yan Zhenqing with extensive methods and profound skills. He wrote small letters thanks to the North Monument, and the structure came from Yan Shu, which is beautiful. In his later years, regular script and seal script were mixed, and the pen was used in the center, which was generous. Especially good at cursive script, Wang Zhifeng, combined with the brushwork of the North Monument, used a pen to escape himself, with strong muscles and strong bones; Official script uses a heavy and astringent pen, and its calligraphy style is strong in Gu Zhuo. However, seal script uses bronze inscriptions as the method, and the pen is dignified and subtle, which is different from popular seal script and creates a new style.

Wu Changshuo: (A.D. 1844- 1927) was born in Anji, Zhejiang. Influenced by Deng et al. in the early days, he studied the inscriptions in Qin and Han Dynasties. After the age of 30, he specialized in Shi Guwen, and he was a leader in Shanghai style painting. Calligraphy can be used in all aspects, especially seal script. Xiling printing press was established 19 13 as the first president. The structure of calligraphy is uneven from left to right, with vigorous pen and deep breath. The official script has a long structure, which means the seal with a pen, and the cursive script is more heroic. His calligraphy is bold and unconstrained, and he is a leading figure in the study of steles in Qing Dynasty.

Ma Yifu: (A.D. 1882- 1967), whose real name was Zhan Weng. People from Shaoxing, Zhejiang. When studying the Han stele, the official script does not emphasize the wave, with clear bones and strong strength, wide and strict structure, and has a vigorous and ancient style. Especially good at cursive writing, ups and downs with a pen, natural and introverted, won the charm of Jin people.

Hongyi: (A.D. 1880- 1942) is commonly known as Li Shutong. At the age of 39, he became a monk, and his dharma name was Yin Yan. My ancestral home is Pinghu, Zhejiang, and my ancestral home is Tianjin. Calligraphy was deeply influenced by epigraphy in early years. In Wei Ti, calligraphy was clean and healthy, and its statutes were rigorous. After becoming a monk, the book style is peaceful and quiet, the structure is natural and stable, the pen is sharp and secret, and it is heavy and free and easy.

Qi Baishi: (A.D. 1863- 1957), formerly known as Chunzhi, whose name is Wei Qing, later renamed Huang, whose name is imminent, is from Baishishan, Xiangtan, Hunan. His calligraphy was first learned, then learned, and then learned, Jin Dongxin, Sangong Mountain, Sangong Mountain.

Shen: (A.D. 1883- 197 1) was originally named as Tyumen and Guagua in Chinese characters. Huzhou, Zhejiang. His calligraphy came and went between Wei and Jin Dynasties and was influenced by Song people's thoughts. Especially good at calligraphy, the structure is upright, the pen is fluent, and the book is gentle and elegant, with the wind of Confucianism. There are Qiu Ming Ji and Shen's Essays on Books.

Lin Sanzhi: (A.D. 1898- 1989), formerly known as Yilin, was named Sanzhi, and later renamed Sanzhi, with nicknames Zuoer, Saner, Deaf and Jiang Shang. My ancestral home is Wujiang, Anhui, and I was born in Jiangpu, Jiangsu. His calligraphy studied under Fan Peikai, Sami Temple and Huang successively, studied ancient calligraphy inscriptions, and finally became a master. He is in good health, especially good at cursive writing, and he is comfortable with it, and he does not lose his statutes everywhere. He dives with his pen, which is full of paper. The style of the book is natural and naive, ancient and beautiful. He is the author of Poems on the River.