Great Seal Classic 14 Magnified Selection

Author: Wu Zhiguo
Publisher:
Publish Date: 2005-09-01
Features: "The Enlarged Series of Historical Inscriptions and Calligraphy Manuscripts" takes commonly used calligraphy classics for beginners as the blueprint, selects typical character examples, and organizes them by stroke, radical, structure, or variant forms of the same character. It is supplemented with techniques such as character enlargement and inscription flipping, making it the preferred calligraphy practice book or teaching reference for learners and teachers. This volume is compiled based on the "Great Yin Fu Jing" (Great Seal of the Yin Fu) written by Chu Suiliang of the Tang Dynasty.
Chu Suiliang (596-658), styled Dengshan, was from Qiantang, Hangzhou. During the reign of Emperor Gaozong of the Tang Dynasty, he was enfeoffed as the Marquis of Henan and was widely known as "Chu Henan." His calligraphy initially drew from the styles of Shi Ling and Ouyang Xun, later studying under Yu Shinan and emulating the methods of the "Two Wangs" (Wang Xizhi and Wang Xianzhi), eventually creating his own unique style. He was ranked among the "Four Great Calligraphers of Early Tang" alongside Ouyang Xun, Yu Shinan, and Xue Ji.
The "Great Yin Fu Jing" is said to be a renowned calligraphy masterpiece in Chu Suiliang's ink traces. Its brushwork is rich and varied, combining both square and round strokes, with hidden and exposed lines. It often employs oblique strokes to achieve balance, with a "three turns and three waves" rhythm. The strokes are delicate yet vary in weight, with discernible elements of clerical script. The slanting and tilting strokes maintain a sense of stability, with a full central axis that appears loose yet cohesive. His brushwork is solid and powerful, with strong momentum and a smooth flow. It is both robust and refined, elegant yet dignified.
Southern Song Dynasty scholar Yang Wuzhuo once remarked: "The art of cursive calligraphy is ever-changing and infinite in its subtleties, and in Chu Suiliang's regular script, one can witness its brilliance." Many later critics have highly praised this piece. Beginners practicing this script should deeply observe and appreciate its essence, avoiding a superficial pursuit of beauty at the expense of elegance. One must start with brushwork and combine it with structural analysis to achieve both form and spirit, avoiding weakness, rigidity, and superficiality.