Calligraphy is in good order

From the Xia, Shang and Zhou Dynasties, through the Spring and Autumn Period and the Warring States Period, to the Qin and Han Dynasties, the historical development of more than 2,000 years also promoted the development of calligraphy art. During this period, various calligraphy styles appeared one after another, including Oracle Bone Inscriptions, Jinwen and Zhu Mo's bamboo slips and silks. Among them, seal script, official script, cursive script, running script and regular script were stereotyped in the screening and elimination of hundreds of miscellaneous characters, and the art of calligraphy began to develop in an orderly manner.

Qin dynasty

Create a precedent for calligraphy

During the Spring and Autumn Period and the Warring States Period, there were great differences in languages among countries, which was a major obstacle to economic and cultural development. After Qin Shihuang unified the whole country, Prime Minister Li Si presided over the unification of the national characters, which was a great achievement in the cultural history of China. After the unification of Qin Dynasty, this script was called Qin Zhuan, also known as Xiao Zhuan, which was simplified on the basis of Jin Wen and Shi Guwen. Among them, Yi Mountain Stone Carvings, Taishan Stone Carvings, Langya Stone Carvings and Huiji Stone Carvings are books written by Li Si, which have been highly praised in past dynasties. Qin is a period of change of inheritance and innovation. The preface to Shuo Wen Jie Zi says: "Shu Qin has eight styles, namely, big seal, small seal, seal cutting, insect book, copy, official book and official book." It basically summarizes the face of the font at this time. Li's seal script was harsh and inconvenient to write, so official script appeared. Official script is a victory of seal script. Its purpose is to facilitate writing. During the Western Han Dynasty, official script changed from seal script to official script, and its structure changed from vertical to horizontal, with more obvious lines and waves. The appearance of official script is a great progress of China characters and a revolution in the history of calligraphy, which not only makes Chinese characters tend to be square, but also breaks through a single center in brushwork, laying the foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are also handwriting such as imperial edict, weight, tile and coin. In the Qin dynasty, the style was very different. Calligraphy in Qin Dynasty left a brilliant page in the history of calligraphy in China, which is a pioneering work.

Eastern Han Dynasty

Calligraphy in Han dynasty

Calligraphy in Han Dynasty can be divided into two forms: one is the mainstream system of stone carvings in China; One is tile seal, and the other is bamboo and silk alliance calligraphy and ink. The Monument to Yun Qi in the Later Han Dynasty is a symbol of Han Li's maturity. Among the cliff stone carvings (words carved on cliffs), Ode to Shimen is the most famous, and calligraphers regard it as a "masterpiece". At the same time, Cai Yong's "Shi Ping Jing" has reached the requirements of restoring ancient ways and creating interesting tires. Inscriptions are the most important art forms that reflect the times and rhythms, among which Feng Longshan, The West Chamber, Kong Zhou, Yi 'e, Chen Shi, Zhang Qian and Cao Quan are especially admired and imitated by later generations. It can be said that each monument is unique and has no similarities. The northern book is magnificent, while the southern book is simple, which embodies the different aesthetic pursuits of the "scholar" and "vulgar" classes. As for the tile seal and the simple silk script, it embodies the combination of artistry and practicality.

The prosperity of calligraphy art began in the Eastern Han Dynasty. Calligraphy theory's works appeared in the Eastern Han Dynasty, and the earliest calligraphy theory author was Yang Xiong at the turn of the Han Dynasty. The first calligraphy theory monograph was a cursive script written by Cui Yuan in the Eastern Han Dynasty.

Calligraphers in the Han Dynasty can be divided into two categories: one is calligraphers in the Han Dynasty, represented by Cai Yong. One is cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi.

Bamboo slips calligraphy can best represent the characteristics of calligraphy in Han Dynasty. There are many inscriptions in the Eastern Han Dynasty. The inscriptions in this period were carved by Han Li, with square fonts, strict statutes and clear waves. At this time, the official script has reached its peak.

The creation and birth of cursive script in Han dynasty is of great significance in the history of calligraphy art, which indicates that calligraphy has begun to become an art that can express emotions and express calligraphers' personality with high freedom. The primary stage of cursive script is cursive script. In the Eastern Han Dynasty, cursive script developed further and formed Cao Zhang. Later, Zhang Zhi founded modern calligraphy, namely cursive script.

three kingdoms period

During the Three Kingdoms period, official script began to decline from the peak position of Han Dynasty, and evolved into regular script, which became another theme of calligraphy art. Regular script, also known as official script and original work, was created by Zhong You. Regular script entered the history of stone carving in the Three Kingdoms period. During the Three Kingdoms (Wei) period, the List of Recommended Seasons and the Declaration Form became the treasures handed down from generation to generation.

In the Jin dynasty

In the Jin Dynasty, people advocated elegance and quality in daily life, and pursued the beauty of moderation and simplicity in art. Calligraphers came forth in large numbers. The artistic taste of bamboo slips of more than two kings (Wang Xizhi and Wang Xianzhi) catered to the requirements of literati, and people increasingly realized that writing had aesthetic value. Most representative

Wang Xizhi is the most influential calligrapher in the history of calligraphy in Wei and Jin Dynasties, and is called "the sage of calligraphy". Wang Xizhi's running script "Preface to Lanting" is known as "the best running script in the world", and critics say that his writing style is like a cloud and agile as a dragon. His son's "Ode to Luo Shen" is magnificent, creating a "broken style" and "a book", which is a great contribution in the history of calligraphy. With the help of Lu Ji, Wei Guan, Suo Jing, Wang Dao, Xie An and Liang Jian, Nanzong calligraphy flourished. Yang Xin, Qi, Xiao Ziyun and Chen of Liang in the Southern Song Dynasty were all his followers.

Xian steamed bun tablet (4 pieces)

At the peak of calligraphy in Jin Dynasty, it was mainly manifested in running script, which was a font between cursive script and regular script. His representative works "Three Wishes", namely "Yuan Bo Tie", "Sunny Tie in Fast Snow" and "Mid-Autumn Festival Tie".

Southern and Northern Dynasties

Calligraphy in the Southern and Northern Dynasties entered the era of "Beibei Nantie". At this time, Wei Bei was the best calligrapher. Weibei is the general name of inscription calligraphy in the Northern Wei and Southern and Northern Dynasties, and it is the transitional period from official script in Han Dynasty to regular script in Tang Dynasty. After the rebellion of the Eight Kings and the infighting of the royal family, the power gradually declined. In the north, with the demise of the Western Jin Dynasty. It formed the chaotic period of "Five Hus and Sixteen Countries". After the Tuoba family established the Northern Wei Dynasty in 16 countries, it contributed to the relative unification of 149. This is the Northern Dynasty.

Calligraphy in the Northern Dynasties was mainly based on inscriptions, especially in the Northern Wei and Eastern Wei Dynasties, and its style was also colorful. Representative works include stele, Zhang Menglong stele and Shi Jingjun stele. Calligraphy at this time is a transitional period from official script in Han Dynasty to regular script in Tang Dynasty. Kang Youwei said: "Anyone who chooses a family in Weibei is an adult. It is beautiful to combine all the families. " Zhong Zhishuai's Xue Xuan Shu Pin said: "Wei Bei's calligraphy can be seen from the old Han and Qin Dynasties, and can be observed from the Sui and Tang Dynasties." Some regular script writers in the early Tang Dynasty, such as Ou Yangxun, Yu Shinan and Chu Suiliang, borrowed from Wei Bei.

Jinshi moved eastward and perished. From 3 17 to 420 AD, it was the Southern Dynasty. Calligraphy in the Southern Dynasties also inherited the ethos of the Eastern Jin Dynasty, and it was very popular from emperors to literati. Calligraphers in the Northern and Southern Dynasties are full of stars, and anonymous calligraphers are the mainstream. They inherited the fine tradition of the previous generation of calligraphy and created excellent works worthy of their predecessors, which created the necessary conditions for the prosperity of calligraphy in the Tang Dynasty.

Sui, Tang and Five Dynasties

Seeking Dharma and Promoting Books in Sui Dynasty

The Sui Dynasty ended the chaos in the Southern and Northern Dynasties and unified China. Later, Tang Dou was a relatively stable period. The development of the South Railway North Monument went hand in hand with the Sui Dynasty, and the form of regular script was officially completed, occupying a position of connecting the past with the future in the history of books. Sui Kai inherited the evolution of Jin, Southern and Northern Dynasties. A new standardization bureau was established in the Tang Dynasty. There are inscriptions in the Sui Dynasty, mostly authentic, which are divided into four styles:

1, the tablet of Qifa Temple in Pinghe Ruding Road Tiger, etc.

2, strict and strict, such as "Dong Epitaph" and so on. 3. Profound and mellow, such as "Xin Xing Zen Master Taming".

4. Xiulang is as exquisite as the "Longzang Temple Monument".

Calligraphy reached its peak in the Tang Dynasty.

The culture of the Tang Dynasty was profound and brilliant, reaching the peak of China's feudal culture, which can be described as "books flourished in the early Tang Dynasty". There were more ink marks in the Tang Dynasty than in the previous generation, and a large number of inscriptions left precious calligraphy works. The calligraphy of the whole Tang Dynasty is the inheritance and innovation of the previous generation. Regular script, running script and cursive script all entered a new situation in the Tang Dynasty, with outstanding characteristics of the times, and their influence on later generations far exceeded that of any previous era.

At the beginning of the Tang Dynasty, the national strength was strong, and calligraphy took off from the legacy of the Six Dynasties. Everyone took Ou Yangxun as a regular script. Yu Shinan, Chu Suiliang, Xue Ji and Ouyang Tong are the mainstream of calligraphy. The general feature is that the structure is rigorous and neat, so the essays of later generations are called "the crown of calligraphy in Tang Dynasty" and were once honored as "the crown of calligraphy in Han Dynasty" and continued to the prosperous Tang Dynasty. With the combination of Confucianism and Taoism, Li Yong changed the style of the Right Army and became unique. Zhang Xu and Huai Su pushed the cursive performance to the extreme with their drunkenness. Zhang Xu is known as the "sage of cursive" in history, and Sun Caoshu is famous for his elegance and agility. Yan Zhenqing, on the other hand, absorbed the ancient law from the new ideas and bred new methods from the old ones. Dong Qichang said that Duke Lu made great preparations for learning from books in the Tang Dynasty. Late Tang Dynasty and Five Dynasties, the national situation declined, Shen Chuanshi. Liu Gongquan changed the model law again. Expose your thinness and strength. It further enriched the method, and in the Five Dynasties, it used Yan and Liu at the same time. The two kings of Shangshuo adopted a posture from the side and made great efforts, which became the only image of Rao Chengping leaving troubled times and the light of Tang books. On the occasion of the Five Dynasties, crazy Zen became popular, which also affected the calligraphy circle. "Crazy Zen Calligraphy" did not show a large scale in the Five Dynasties, but it had a great influence on calligraphy in the Song Dynasty.

The art of calligraphy in Tang Dynasty can be divided into three periods: early Tang, middle Tang and late Tang. In the early Tang Dynasty, inheritance was the mainstay, statutes were respected, and the beauty of gold calligraphy was deliberately pursued. In the middle Tang Dynasty, innovation continued and it was extremely prosperous. Calligraphy also improved in the late Tang Dynasty.

There were six kinds of institutions of higher learning in the Tang Dynasty, namely imperial academy, Imperial College, Four Schools, Law, Calligraphy and Mathematics. Among them, it is a pioneering work in the Tang Dynasty to train calligraphers and calligraphers. Famous artists come forth in large numbers, Starlight Glimmer. Such as Ou Yangxun, Yu Shinan and Chu Suiliang in the early Tang Dynasty; Yan Zhenqing and Liu Gongquan were both great calligraphers in the middle Tang Dynasty. In the late Tang Dynasty, there were Wang Wenbing's seal script, Li E's regular script and Yang Ningshi's "Two Kings Yan Liu" aftertaste.

Calligraphy in Sui, Tang and Five Dynasties can be divided into three stages.

(1) Sui to early Tang Dynasty

Sui unified China and accepted the culture and art of the Southern and Northern Dynasties. At the beginning of the Tang Dynasty, politics flourished, and calligraphy gradually emerged from the legacy of the Six Dynasties and took on a new attitude. In the early Tang Dynasty, regular script was the mainstream, and its overall feature was strict and orderly structure.

(2) Mid-Tang Dynasty

Calligraphy in the prosperous Tang Dynasty, like the social form at that time, pursued a romantic way of getting carried away. Such as "Zhang Dian Drunk" (Zhang Xu, Huai Su), Li Yong's running script. In the middle Tang Dynasty, regular script made a new breakthrough. Yan Zhenqing, as the representative, laid the standard of regular script, set an example and became orthodox. At this point, China's calligraphy style has been completely determined.

(3) The legacy of the Tang Dynasty in the late Tang Dynasty and the Five Dynasties.

In 907, Zhu Quanzhong, the separatist, destroyed the Tang Dynasty and established Hou Liang, from which the later Tang Dynasty, the later Jin Dynasty, the later Han Dynasty and the later Zhou Dynasty were called the Five Dynasties. Due to the weakness and disorder of the country, culture and art are also declining. Although the art of calligraphy continued after the end of the Tang Dynasty, due to the influence of war and fire, it formed a general trend of decline. During the Five Dynasties, Yang Ningshi's calligraphy was praised. In the five dynasties when calligraphy declined, his calligraphy was the mainstay. There are also outstanding calligraphers, such as Li Yu and Yan Xiu. At this point, the upright and rigorous style of calligraphy in the Tang Dynasty came to an end, and then the "four schools" in the Northern Song Dynasty followed suit and set off a new wave of the times.

Song zhi zhong Ming

Shang Yi Xuan Qing

Song's words

Calligraphy in Song Dynasty attached importance to artistic conception, which was the result of Zhu Da's advocacy of Neo-Confucianism. The connotation of artistic conception includes four points: one is philosophical, the other is bookish, the third is stylization, and the fourth is artistic expression. At the same time, it advocates individuality and originality in calligraphy creation. These are all reflected in calligraphy. If the worship of dharma in Sui, Tang and Five Dynasties was the embodiment of seeking "writing", then in Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. In other words, besides being natural and diligent, calligraphers should also be knowledgeable, that is, bookish. Northern Song Sijia changed the face of the Tang Dynasty and directly inherited the tradition of calligraphy.

Whether Cai Xiang, who is very talented, Su Dongpo, who is brave in innovation, Huang Tingjian, who values antiquity, or Mi Fei, who is brave in adventure in No.3 Middle School, all strive to show their calligraphy style while trying to show an unconventional posture, which makes the academic atmosphere gloomy and sandy between pen and ink, giving people a new aesthetic artistic conception, which was obtained by calligraphers such as Wu Shuo, Lu You, Fan Chengda, Zhu and Wen Tianxiang in the Southern Song Dynasty. Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai.

Calligraphy art in yuan dynasty

At the beginning of Yuan Dynasty, there was little economic and cultural development, and the overall situation of calligraphy was advocating retro, patriarchal clan system in Jin and Tang Dynasties, and less innovation. Although the Yuan Dynasty was ruled by foreigners politically, it was assimilated by Chinese culture culturally, which was different from the pursuit of artistic conception in the Song Dynasty. The intention of Yuan Zaju is manifested in the pursuit of open beauty, so Su Shi flaunted "opposing the book with meaning" and Zhao Mengfu advocated "it is not easy to use a pen through the ages". The former pursues the meaning of speed, while the latter emphasizes the meaning of intention. Zhao Mengfu was a key figure in the Yuan Dynasty. His regular script "Zhao Ti", together with the European style, strict style and Liu style in the Tang Dynasty, became the main style of calligraphy in later generations. Xian Yushu and Deng Wenyuan were also famous in the Yuan Dynasty. Although their achievements are not as good as Zhao Mengfu's, they also have their own uniqueness in calligraphy style. They advocate the same method of calligraphy and painting and pay attention to the posture of writing.

Calligraphy art in Ming dynasty

The development of calligraphy in Ming Dynasty can be divided into three stages:

The first stage-early Ming Dynasty

In the early Ming Dynasty, calligraphy was characterized by "one word with many images" and "Taige style" prevailed. Brother Shen helped push the stable lower case to the extreme. "Every gold edition of the jade book is used by the imperial court, hidden in the secret room, and the book is awarded to the country." Er Shen's calligraphy is regarded as a model of imperial examination. In the early Ming Dynasty, there were Liu Ji who was good at cursive script, Song Liao who was good at small letters, Song Lian who was good at seal script, and famous calligraphers. And Zhu Yunming, Wen Huiming and Chong Wang.

The second stage-Zhong Ming

In the middle of Ming Dynasty, four schools of Wuzhong emerged, and calligraphy began to develop in the direction of business. The four sons, Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong, went to Jin and Tang Dynasties according to Zhao Mengfu's statement, taking the Supreme Law; The style of writing is also peerless, which is related to the development and liberation of thought at that time, and calligraphy began to enter a new realm of advocating individuality.

The third stage-the last years of Ming Dynasty

There was a critical trend of thought in calligraphy in the late Ming Dynasty, pursuing large-scale and shocking visual effects, taking advantage of the situation from the side, making the original order of calligraphy begin to collapse. Representative calligraphers are Huang Daozhou, Wang Duo and Ni. Dong Qichang, commander of Tiexue Temple, still sticks to the traditional position.

clean

Lyrical and rational

In the development history of nearly 300 years, China's calligraphy in Qing Dynasty experienced a difficult transformation. It broke through the cage of calligraphy since the Song, Yuan and Ming Dynasties, and initiated the study of steles, especially the seal script, official script and the northern Wei Dynasty stele calligraphy, which can be compared with the regular script in the Tang Dynasty, the running script in the Song Dynasty and the cursive script in the Ming Dynasty, forming a vigorous and profound calligraphy style. In particular, the calligraphers of stele studies, taking the essence from the past and showing their individuality, have made the calligraphy world very active, with various schools showing a thriving situation.

In the late Ming and early Qing dynasties, the mainstream of aesthetics was based on lyricism, pursuing individuality and advocating rationality, and orthodox classical aesthetics coexisted with new aesthetics of seeking differences. The overall tendency of calligraphy in Qing Dynasty is to emphasize quality, which is divided into two development periods: paste learning and stele learning.

In the late Ming dynasty, the book world was wild and uninhibited. The cynicism was further extended in the early Qing Dynasty. For example, Zhu Fushan's works still express themselves from the inside.

Masterpieces of Calligraphy (3 pieces)

A living life and an emotional expression that can't stop. This point reappeared in the mid-term "Yangzhou Eight Eccentrics". At the same time, the post-school system was further developed in the late Ming Dynasty. While respecting the tradition, Jiang Ying, Zhang Zhao, Liu Yong, Liang and Weng Fanggang tried to show a new look, which inevitably led to the decline of iron science.

At this time, more and more stone carvings were unearthed, and the literati turned from their keen interest in letters to the study of stone inscriptions. For a time, the government and the people flocked to the study of steles, which eventually became a democratic trend of thought in the Qing Dynasty, together with Ruan Yuan and Bao. Kang Youwei strongly advocated that stele study existed as a calligraphy system, competing with post-study. At that time, famous calligraphers were Jin Nong, Zhang Chuanshan, Deng, He, Zhao, Wu Changshuo, Kang Youwei and so on. One by one, writing and drawing with inscriptions has achieved the greatest rationality. A dazzling situation. It can be described as a landscape of China calligraphy culture. If the epitaph's desire for quality has not been realized, then this desire has been realized in the study of steles.

Modern Times

In today's diversified calligraphy world, it is undoubtedly a great progress for calligraphy art to sublimate to the height of conceptual change. The modernity of calligraphy does not simply depend on the external appearance such as the form, structure and lines of calligraphy art, but on the modernization of internal spirit. The modern spirit of calligraphy refers to the value orientation of modern society embodied and transmitted by contemporary calligraphy art.

In the modern book world, the flat school still occupies the mainstream position. However, different from the epigraphy in the late Qing Dynasty, there were more calligraphers who took French-Chinese steles and ancient seal scripts in this period.

Many calligraphers, such as Sha Menghai and Lu, had been engaged in calligraphy creation before 1949, but it was not until after the Cultural Revolution that they were nearly 80 years old and became famous for their calligraphy. During the nearly 30 years from 1949 to Mao Zedong's death, calligraphy was basically ignored. At that time, people were building a new China with great enthusiasm. Calligraphy is regarded as the representative of the old tradition.

The variety of modern calligraphy art is directly related to the unprecedented complexity of its calligraphers. Perhaps it is because the distance is too close, and the scenery is clearer than ever.