Clear Liang Kou Cao Shu Bao Jin Zhai Tie Zhu

Author: Shanghai Shuhua Publishing House
Publisher:
Publishing Date: 2005-06-01
Features: Chinese calligraphy has a long and profound history, rich and profound. Since the Zhou and Qin dynasties, stone inscriptions have been continuously created, some placed in temples, others set up in wildernesses, and some carved on stone walls. Their artistic forms are diverse, each possessing unique charm. They can be described as a dazzling display of colors, endlessly beautiful, and an inexhaustible treasure trove of cultural and artistic heritage. Since the Qing Dynasty, the study of historical evidence flourished, and the school of calligraphy based on stone inscriptions became highly popular. This book aims to promote this traditional and excellent calligraphy practice, serving as a bridge for calligraphy learners to transition from copying to creating, making stone inscriptions more practical and enjoyable.
Paperbound, one volume with twenty pages, each page measuring 25 cm vertically and 14.8 cm horizontally. The first page features an embossed white square seal of "Haozhou People" at the top. In grass script, there are also two embossed square seals: "Liang Yan's Seal" and "Wen Ce Ni."
Liang Yan was born in the year Geng Yin (1910) during the 49th year of the Kangxi reign of the Qing Dynasty and passed away in the year Yi Si (1785) during the 55th year of the Qianlong reign, at the age of 75. His courtesy name was Wen Ce, and his sobriquets were Song Zhai and a native of Haozhou (Hao County, Anhui). In the year Ren Wu (1762) of the 27th year of the Qianlong reign, he became a Jinshi (provincial scholar), invited by Lu Ya Yu, the director of the two Huaiyang transport offices, to teach at the transport office in Yangzhou. Later, he served as the magistrate of Beibadong, but resigned in his later years. In the year Geng Xu (1790) of the 55th year of the Qianlong reign, he returned to his hometown in Anhui to lecture at Shouchun Xunli Academy, dedicating himself to calligraphy theory.
Liang Yan admired Li Yong and Dong Qichang in calligraphy, and as he had studied with Zhang Zhao in Qufu, his style was pure and harmonious, earning him the reputation of "Southern Liang and Northern Kong." Initially, Liang Yan served as a teaching assistant in Xian'an Palace. Upon arriving in the capital, he learned calligraphy techniques from He Guozong, the director of the Imperial Observatory, who had been detained by the Ministry of Justice, and also from Shi Zhao, who was also detained for other reasons. He visited He Guozong's home to seek guidance. He Guozong's method of holding the brush, vivid and lifelike, became a guiding principle for later scholars ("Artists of the Qing Dynasty" in The Draft History of the Qing Dynasty). Later, he proposed the theory that "the Jin Dynasty valued rhythm, the Tang Dynasty valued rules, the Song Dynasty valued meaning, and the Yuan and Ming dynasties valued style," providing a rational summary of traditional calligraphy art.
According to Anhui Literature Catalogue, Liang Yan wrote Commentary on Calligraphy Notes (one volume) and Cheng Ya Zhai Accumulated Records (one volume), with his works also recorded in Artists of the Qing Dynasty in The Draft History of the Qing Dynasty. Commentary on Calligraphy Notes is a collection of Liang Yan's miscellaneous notes compiled by others after his death, totaling 141 entries. Some discuss brush-holding techniques, others evaluate calligraphers, and others discuss the origins of stone inscriptions, with a focus on brush techniques.