Appreciation of the works of beautiful Chinese calligraphers in the past two thousand years

In ancient China, good handwriting was something worth showing off.  There are not many beauties who can read and write in the feudal ethics.  Therefore, talented women who can have knowledge and write good calligraphy are even rarer.  It is difficult for most female calligraphers to leave a fragment of the manuscript, and there are very few works that can be witnessed by future generations.

In today's era of vigorous development of culture and art, calligraphy has ushered in the best time, and more and more famous and big names have emerged in the calligraphy world. Among them, female calligraphers still occupy "half of the country".  They danced brushes and ink, wrote poems and words, and weaved a web of brocades and brocades of female calligraphers in the new era.


Cai Wenji's "I Born Post"   ▼


Appreciation: "I Born Tie" is passed down as Cai Wenji's handed down calligraphy, leaving two lines: I did nothing at the beginning of my life, and the Han Zuo declined after I was born.  Later generations named it "My Life Post".  The basic words of this post 

are independent, and there is only one word for "after" in the thread.  Although it is in cursive script, it retains the style of official script.  "I Born Tie" is extremely precise, revealing a strong classical beauty.  Cai Wenji's calligraphy is elegant and natural, and "Chunhua Pavilion" has her works. 



Mrs. Wei's "Quick Post / Quick Chapter"   ▼


Appreciation: Mrs. Wei is fond of learning, and loves calligraphy. She took the great calligrapher Zhong Yao as her teacher from a very early age.  According to her self-report: "I followed what I learned in the world and copied Zhong Yao, and I have been through many years.

" She once wrote poems and the cursive script style, and was ordered to write "Ji Ji Zhang" for the imperial court.  Mrs. Wei's calligraphy "Chunhua Pavilion Tie" has the official book "Ji Ji Tie", but it was identified as a forgery by calligraphers who came to the dynasty.




Wu Zetian's "The Immortal Prince's Monument"   ▼


Appreciation: Looking at the Monument of the Prince of Ascension to Immortals, we can see that Wu Zetian's calligraphy is vigorous and unrestrained, his strokes are tactful and fluent, his body is moderately 

broad and strict, and his strokes are loud and sound.  There is a manly arrogance between the lines.  If it is not recorded in history and there is literature to rely on, who would believe that such a large-scale pen could come from the hands of a woman?



Xue Tao's calligraphy works   ▼


Appreciation: Xue Tao (about 768-832) was a legendary Tang Dynasty poetess, courtesy name Hongdu, from Chang'an (now Xi'an, Shaanxi).  At the age of 16, he became a music member and had a 

relationship with Wei Gao and Yuan Zhen.  During the relationship, Xue Tao made his own pink small notes to write poems, and later generations copied them and called them "Xue Taojian".  After leaving the country, she never married.

Xue Tao's calligraphy is unfeminine, and his writing is vigorous.  Every time he likes to write his own poems, his language is also skillful, and his thoughts are handsome.  Xue Tao's "Chen Siwang Beauty Chapter" is a running script with ups and downs and elegant gestures.



Duan Sheng "Autumn Deep Post"   ▼


Appreciation: Zhao Mengfu has a deep relationship with Mrs. Guan, so most experts believe that "Autumn Deep Post" should be written by Zhao Mengfu on behalf of his wife, Duan Sheng.  Judging from the handwriting, the writing of "Autumn Deep Post" is warm and elegant, which is in line with the characteristics of Zhao Mengfu's running script.




Xing Cijing's calligraphy and ink   ▼



Appreciation: Xing Tong's younger sister Xing Cijing was a famous talented woman in the late Ming Dynasty. She was called "Three Talented Women in Motan" together with Mrs. Shuo Wei of the Eastern Jin Dynasty and Tuosheng in the Yuan Dynasty.  Xing 

Cijing was born into a scholarly family. Although she lived a good life, her life was ill-fated.  These thirty-one poems, with true love and elegance, and profound artistic conception, reflect her life and ideological conditions in different periods, as well as her outstanding poetic art.




Liu Rushi's "Grass on the Lake"   ▼


Appreciation: Liu Rushi, whose real name is Yang Ai, whose word is Rushi, is also known as Hedong Jun. She is the head of the "Qinhuai Bayan" talented women in the late Ming and early Qing dynasties.  Liu Rushi is a master in poetry, calligraphy and painting.  

Weng Tonghe, a great calligrapher in the Qing Dynasty who served as the emperor of Tongzhi and Guangxu successively, said when evaluating Liu Rushi's calligraphy: "The iron hand extends the silver hook, and the paper is full of wonder."




Dong Xiaowan's "Three Fans of Du Fu's Poems"   ▼



Appreciation: She is also quite accomplished in calligraphy.  There is a cloud in Maoxiang:   "Ji's calligraphy is beautiful, she was a little thinner when she learned from Master Zhong, and then she learned "Cao E". Every time I have red and yellow, I will definitely treat Hong Ying, or burn incense in a quiet night, and record it carefully. The poetry and history of the boudoir are all relics."  .

In addition, Dong Xiaowan has independently compiled the book "Xuanyan".

"The wonderful and secret of its book, all the ancient women from top to bottom, as well as the food, utensils, pavilions, songs and dances, needles, algae, birds, fish, birds, beasts, that is, the ruthless people of plants and trees,  A little bit of affection, all belong to Xiangli. Today's fine-text red paper, classified and analyzed, are all in the middle.

Jiang Shuzhai's Cursive Writing Scroll   ▼

Appreciation: Jiang Shuzhai, female, from the Qing Dynasty.  No. Guangping Inner History, suitable for Song family in Jiaozhou, Shandong.  Good book, good at cursive.  Master Wang Xizhi and Wang Xianzhi, especially in the "Seventeen Posts", are harmonious, gentle and elegant, and have a strong energy, which is very important at the time.

Wang Shizhen tasted Tongsu Instant Noodles, and admired him very much, thinking that his brushwork was firm and vigorous, and he was not like a woman.  Zhu Yizun (1629 to 1709) inscribed his poem and the inscription has the following words: "Three real and six cursive writing Chaoyun, several strands of jade 

hairpin, like Mrs. Wei, asked why the right army was in the past, outside Yujintang,  In the Qingling tent, I was surprised to hear the small characters for the first time, the door was hidden by Xie Chi Chuncao, and the book was full of double-handed skirts." "Also referring to his book. "Chibei Outan, Jixiu Zhengshi Collection Biography".


Cao Zhenxiu's regular script ▼


Appreciation: Cao Zhenxiu (1762-1822), styled Moqin, wrote Yunxuan by himself, a native of Xiuning, Anhui, living in Wumen, the daughter of Cao Rui, the grandson's wife of Wang Xian, good at painting, calligraphy Zhongwang, Shilin Zhong  Of.

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