Li Shimin 李世民

In Chinese history, two emperors had special love of calligraphy and thus contributed significantly to the development of Chinese calligraphy: one was XiaoYan, Emperor Wu of Liang of the Southern Dynasties (420-589), and the other was Li Shimin, Emperor Taizong of the Tang Dynasty (618-907). Both happened to be the devotees of Wang Xizhi, which may explain why Wang’s style of calligraphy dominates the Chinese calligraphy history.

Li Shimin is said to be among the most admired emperors in the Chinese history who was a skilled politician, a master strategist and even an excellent calligrapher. It is said that he ruled the country in an open minded and humane manner. He was ambitious, intelligent, adroit and diligent. He ruled China from 629 to 649.

All forms of Chinese calligraphy blossomed in the Tang Dynasty and many famous calligraphers came to the fore during this period. While the emperors of Tang followed the lead of Li Shimin and actively promoted calligraphy, there are other reasons that led to the development of calligraphy in Tang dynasty. The open political policy, the prosperous economy and the development of literature and other art forms during the period all stimulated the development of calligraphy. In addition, calligraphy was set as a subject for imperial examinations during the Tang Dynasty.

Li Shimin held Wang Xizhi's calligraphy in great esteem. In order that more people could appreciate Wang’s famous ‘Preface to the Orchid Pavilion’ (Lanting Xu), he ordered his officials to make some elaborate copies of the original so that he could give them away to his imperial family members and favoured officials.

As the developing of calligraphy, the theories of calligraphy boomed at this time too. Li Shimin himself had a good grasp and understanding of the nature of calligraphy. This is what he had to say about calligraphy, ‘The spirit is the soul of calligraphy, for without an enlightened spirit, the beautiful appearance of words cannot be expressed; and mind is the muscle of calligraphy, for without a strong mind, the energetic strength of words cannot be shown.’ He even personally wrote the biography of Wang, in which he declared Wang the greatest calligrapher of all time, ‘I examined all calligraphy works with tiny details of ink from ancient times until now. I only find Wang as the most perfect calligrapher.’ He therefore fixed the style of Wang as the imperial signature with such finality that it was maintained as such through the Tang dynasty and beyond.

His own calligraphy was very much influenced by Wang and is commented as having achieved the standard of professional calligraphers.

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在中国历史里，有两个皇帝对书法有特别的喜好，所以对书法发展也做出了很大贡献：一个是南朝（420-589）梁武帝萧衍，另一个是唐（618-907）太宗李世民。刚好两人多尊崇王羲之，这就是为什么在中国书法历史，唯王羲之及其书体能独尊。

李世民可说是中国历史上最受崇敬的帝王之一。他是个熟练的政治家、战略家、甚至是个很好的书法家。据说他为人开明、有人性。他也很有雄心、机智、敏捷与勤奋。他从629年至649统治中国。

在唐代，各书体皆兴盛，并出了不少著名书法家。唐帝王以太宗为范，积极推广书法，但书法之兴盛，还有其他原因。开明的政治，繁荣的经济，文学及其他艺术形式的发展，都刺激了书法的发展。再加上，唐朝规定书法是科举考试的考科之一。

李世民给予王羲之的书法很高的崇敬。为了使更多人有机会欣赏王羲之的《兰亭序》，他下令他的官员根据原迹写了一些摹本，分送给王族成员与宠臣。

作为书法发展的一部分，书法理论在当时也很兴盛。李世民本身对书法本质就就有很好的认识。他说过，‘夫字以神为精魄，神若不知，则字无态度也；以心为筋骨，心若不坚，则字无劲健也。’他还亲自写了《王羲之传》，宣称王羲之为古今最伟大的书法家：‘所以察详古今，研精篆素，尽善尽美，其惟王逸少乎！’他裁定王体为正统，以致王体得以由唐代起持续不衰。

他的书法受王羲之的影响很大，有评论认为他的书法已经达到专业水平。