Dong Qichang’s regular script Du Shizhang

[Dong Qichang’s regular script Du Shi axis]

Du Shi axis, Ming Dynasty, Dong Qichang’s script, paper version, regular script, 129.9 cm vertically and 49.6 cm horizontally
Interpretation:
It is equipped with a very mysterious capital, and the emperor is forbidden by the height (“emptiness” in the original text). It is very strict and polite to keep the ceremony
The green tile is cold at the beginning, and the golden stem is nearby. The mountains and rivers support the embroidery households, and the sun and moon are close to carving beams
The root of the fairy plum is big, and the Yilan is shining. Aristocratic families leave the old history, and morality pays the king
The painter looks at his predecessors, and Wu Shengyuan is good at it. Senluo moved the axis and moved the palace wall wonderfully
The five saints unite with the dragon, and thousands of officials line up with wild geese. All the diadiadiao have beautiful hair, and the flags are flying
The green cypress leaves deep in the landscape, and the red pears get frost. Kites blow jade pillars, and the frozen silver bed is exposed
Go back to the lower Zhou Dynasty and arch the Han Emperor. If the valley god is immortal, where is the place to raise him
Du Shaoling paid a visit to the temple poems of Emperor Xuanyuan and wrote a lot of books
The signature: “Du Shaoling pays homage to the temple poems of Emperor Xuanyuan, and his Changshu.” It is sealed with the seal of “Zongbo Bachelor” and “Dong Xuanzai”. Preface seal: “Xuan Jing Zhai” white print. Jiancang seal: “Xu Zishan’s secret suitcase seal” Zhu Wenyin
This is a five-character composition of Dong Qichang’s poem Du Fu, a poet of the Tang Dynasty, “Visiting the Xuanyuan Emperor’s Temple in the north of Luocheng in winter”. Although there is no writing model, according to its style, it should be Dong’s works in the middle and late years
Dong Qichang’s regular script was first copied from Yan Zhenqing’s Duobao Pagoda, and it captures the essence of the changes in Yan’s handwriting, which has the potential to be broad and open. The strokes are thick, the strokes are vigorous, the knots are stable and open, and the words and lines are sparse and symmetrical, from which we can see the influence of Yan Zhenqing on his calligraphy.