He pretended to be innocent and looked at a white marble carving on the right. It was a crystal clear white marble carving. The smooth white marble carving reflected the tall figure of the man under the sunlight. The figure was a little taller than Song Fang, and even more than himself. He vaguely guessed in his heart that Zhao Huan, who was next to the Seventh Prince, also came to court, and happened to see him and Lu Zhanpeng, so he wanted to find out the truth. If he showed uneasy or other terrifying expressions, he would definitely teach this villain who was good at playing with others to be even more arrogant. Thinking of this, a faint smile appeared on the corner of his mouth and raised his foot toward the white marble.

The jade carving was played over. I was far away just now, and I felt that there were dense tadpole-like words written on it. I thought it was Mongolian. When I got closer, I found that there were a lot of Chinese characters on it. Xiao Yun could not help but feel a little fresh when he saw the Chinese characters in the Tartars palace. He ignored Zhao Huan's hostile gaze behind him. There was a faint smile on the corner of his mouth. He swung his sleeves and walked towards the white marble carving. The so-called white marble carving is actually a stone tablet, but it was just a stone tablet made of white marble carving. Xiao Yun wanted to see what was written on the stone tablet. It would definitely be a good thing if it could be placed outside the gate of the Golden Palace.

Zhao Huan followed him and wanted to find out who Xiao Yun was, but suddenly saw Xiao Yun walking towards a stone tablet. Looking at the seriousness, he seemed to be quite interested in the stone tablet. He couldn't help but become curious and followed Xiao Yun. Xiao Yun knew that Zhao Huan was following him, so he slowed down. He wanted to use this excuse to see Zhao Huan's expression. Zhao Huan seemed to have seen Xiao Yun's mind, and the pace was always slow. Twenty steps away from Xiao Yun, Xiao Yun saw that his thoughts were seen through, shook his head, ignored him, and looked at the stone tablet. Only then did he find that the Chinese characters on the stone tablet were written very beautifully. Xiao Yun has been quite familiar with Chinese calligraphy since he was a child.

He likes them, especially those like Wang Xizhi's "Preface to Lanting", Zhang Xu's "Four Ancient Poems", Su Dongpi's "Red Cliff Fu", Yan Zhenqing's Yan style, and Zhao Mengfu's "Thirteen Postscripts to Lanting in Dingwu". He can also make a little research. He can see Wang Xizhi's elegance, Zhang Xu's madness, Su Shi's artistic conception, Yan Zhenqing's grandeur, Zhao Mengfu's gentle and elegant, but the strokes on this stone tablet are closely interspersed, making the wide and wide area particularly wide, with fine and sharp edges. Although the brushwork comes from Yan Zhenqing, it is different from Yan Zhenqing's thick and broad style, and it looks particularly heroic. Xiao Yun learned from the history textbooks of the 21st century that calligraphy flourished in the Sui and Tang Dynasties.

In the early Tang Dynasty, the country was strong, and calligraphy escaped from the legacy of the Six Dynasties. The masters of regular scripts were Ouyang Xun, Yu Shinan, Chu Suiliang, Xue Ji and Ouyang Tong were the mainstream calligraphy. The overall characteristics and structure were rigorous and neat, so the later generations discussed it.

The calligraphy is said to be "the crown of calligraphy and calligraphy", and it was once respected as the "crowned calligraphy and calligraphy" to the prosperous Tang Dynasty, and the combination of Confucianism and Taoism, Li Yong changed the right army's movements and was unique, Zhang Xu and Huaisu pushed the cursive script to the extreme with their wild and drunkenness. Zhang Xu was called "Cursive Saint" in history, and Sun Guoting's cursive script was good at elegance. I Ru He Zhizhang, and Li Longji also strived to create a new realm of truth, straightforwardness, and broad style. When Yan Zhenqing introduced the ancient methods into the new ideas, he gave birth to the new methods beyond the ancient meaning. Dong Qichang said that the Tang people learned the calligraphy of the Tang people, and Lu Gong was well prepared. By the late Tang and Five Dynasties, the country's power declined, and Shen Chuanshi. Liu Gongquan changed the regular script again. He was proud of himself with thinness and strength. He further enriched the Tang regular script. In the Five Dynasties, Yang Ningshi also picked the longevity of Yan and Liu. The two kings of the upper capsule

, with the edge of the stance and the force of the hair, the image of peace was only preserved in the times of separation and chaos, and also the return of Tang calligraphy. During the Five Dynasties, the wind of mad Zen was strong, which also affected the calligraphy world. Although "mad Zen calligraphy" did not show its scale in the Five Dynasties, it had a great influence on Song Dynasty calligraphy. After the Song Dynasty, although calligraphy continued the heroic spirit of the Tang Dynasty, calligraphy began to appear in front of the world with a new look of vocalizing meaning and lyricism. This is to calligraphers not only have the two levels of "natural" and "technical" but also need to have "knowledge", namely "study spirit". The four Northern Song Dynasty schools changed the appearance of Tang regular script and directly directed the legacy of running script in the Jin Dynasty. Therefore, the calligraphy of the Song Dynasty was mostly full of knowledge and flourished between the brush and ink, and gave people a new aesthetic artistic conception.

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Chapter completed!