Ode on Pied Wagtails 鶺鴒頌 . 'The brushwork in this handscroll is steady and the use of ink rich, having a force of vigor and magnanimity in every stroke. The brushwork also clearly reveals pauses and transitions in the strokes. The character forms are similar to those of Wang Xizhi's (303-361) characters assembled into 'Preface to the Sacred Teaching' composed in the Tang dynasty, but the strokes are even more robust. It demonstrates the influence of Xuanzong’s promotion of Wang Xizhi's calligraphy at that time and reflects the trend towards plump aesthetics in the High Tang under his reign.'

- Image ID: MPBJME
Ode on Pied Wagtails 鶺鴒頌 . 'The brushwork in this handscroll is steady and the use of ink rich, having a force of vigor and magnanimity in every stroke. The brushwork also clearly reveals pauses and transitions in the strokes. The character forms are similar to those of Wang Xizhi's (303-361) characters assembled into 'Preface to the Sacred Teaching' composed in the Tang dynasty, but the strokes are even more robust. It demonstrates the influence of Xuanzong’s promotion of Wang Xizhi's calligraphy at that time and reflects the trend towards plump aesthetics in the High Tang under his reign.'
The Picture Art Collection / Alamy Stock Photo
Image ID: MPBJME
Ode on Pied Wagtails 鶺鴒頌 . 'The brushwork in this handscroll is steady and the use of ink rich, having a force of vigor and magnanimity in every stroke. The brushwork also clearly reveals pauses and transitions in the strokes. The character forms are similar to those of Wang Xizhi's (303-361) characters assembled into 'Preface to the Sacred Teaching' composed in the Tang dynasty, but the strokes are even more robust. It demonstrates the influence of Xuanzong’s promotion of Wang Xizhi's calligraphy at that time and reflects the trend towards plump aesthetics in the High Tang under his reign.' —National Palace Museum . Tang dynasty. Wei Guangcheng 魏光乘 939 Ode on Pied Wagtails

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