Appendix:
Shang Dynasty to Western Han Dynasty-calligraphy in perfect order
From Xia, Shang and Zhou Dynasties to the Spring and Autumn Period and the Warring States Period. During this period, various calligraphy styles appeared one after another, including Oracle Bone Inscriptions's, bronze inscriptions, stone inscriptions, bamboo slips, Zhu Mo's handwriting, etc. Among them, seal script, official script, cursive script, running script, regular script and other fonts were stereotyped in the screening and elimination of hundreds of miscellaneous styles, and the art of calligraphy began to develop in an orderly manner.
the pioneering calligraphy in Qin dynasty
during the spring and autumn period and the warring States period, there were great differences in writing among countries, which was a major obstacle to the development of economy and culture. After Qin Shihuang unified the 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, the script was called Qin Zhuan, also known as Xiao Zhuan, which was simplified on the basis of Jin Wen and Shi Guwen. Li Si, a famous calligrapher, presided over the compilation of Xiao Zhuan. Lishan Stone Carvings, Taishan Stone Carvings, Langya Stone Carvings and Huiji Stone Carvings are the books written by Li Si. All previous dynasties have a very high evaluation. Qin dynasty is a period of change of inheritance and innovation. The Preface of Shuowen Jiezi said: "Qin Shu has eight styles, namely, the big seal, the small seal, the engraving, the insect book, the copying, the official book, the official book." It basically summarizes the face of the font at this time. Li Siqin's seal script was harsh and inconvenient to write, so official script appeared. "Official script is a triumph of seal script". Its purpose is to facilitate writing. In the Western Han Dynasty, the official script changed from seal script to official script, and the structure changed from vertical to horizontal, with more obvious lines and waves. The appearance of official script is a great progress in Chinese writing and a revolution in the history of calligraphy, which not only makes Chinese characters tend to be a founder model, but also breaks through a single center in brushwork, laying the foundation for various calligraphy schools in the future. In addition to the above masterpieces of calligraphy, there are scripts such as imperial edict, weight, tile, currency, etc. in the Qin Dynasty, with different styles. Calligraphy in Qin Dynasty left a brilliant page in the history of Chinese calligraphy, which was a pioneer.
seeking degrees and pursuing rhymes-the calligraphy of the Eastern Han Dynasty to the Southern and Northern Dynasties
The calligraphy of the two Han Dynasties is divided into two forms, one is the mainstream system of Chinese stone carvings; One is the seal of Wadang seal and the ink of the book of bamboo and silk alliance. "Since the later Han Dynasty, the stele Yun Qi" is a sign 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 "Xi Ping Shi Jing" reached the requirements of restoring ancient Li and opening a model for fetal interest. Inscription is the most important art form that reflects the times and rhyme, among which the steles such as Feng Longshan, Ode to the West Narrow, Kong Zhou, Yi Ying, Shi Chen, Zhang Qian and Cao Quan are especially praised and imitated by later generations. It can be said that each monument is unique, and there are no similarities. The northern book is magnificent and the southern book is simple and ancient, which embodies the different aesthetic pursuits of the "scholar" and "ordinary" classes. As for the seal of Wadang and the book of bamboo slips and silks, it embodies the marriage 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 author of calligraphy theory was Yang Xiong at the turn of the East-West Han Dynasty. The first monograph on calligraphy theory was cursive script written by Cui Yuan in the Eastern Han Dynasty.
calligraphers in the Han dynasty can be divided into two categories: one is the calligrapher of the Han dynasty, represented by Cai Yong. One is cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi.
nothing can best represent the characteristics of calligraphy in the Han dynasty than the calligraphy on inscriptions and bamboo slips. 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 distinct 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. It marks the beginning of calligraphy as an art that can express emotions with high freedom and express calligraphers' personality. The initial stage of cursive script was the cursive script. In the Eastern Han Dynasty, the cursive script developed further and formed Zhangcao. Later, Zhang Zhi founded the modern script, namely the cursive script.
Calligraphy in Wei, Jin, Southern and Northern Dynasties
1: Three Kingdoms Period
During the Three Kingdoms Period, official script began to descend from the peak position of Han Dynasty and evolved into regular script, which became another subject of calligraphy art. Regular script, also known as official script and real script, was created by Zhong You. It was during the Three Kingdoms period that regular script entered the history of stone carving. The Three Kingdoms (Wei) Period's "Recommended Season Straight Table". "Declaration Form" and so on have become the treasures of generations.
2. During the Jin Dynasty
During the Jin Dynasty, people advocated "elegance" and "quality" in their daily life, and pursued the beauty of moderation and elegance in their artistic pursuits. There were many calligraphers, and bamboo slips were more than two kings (Wang Xizhi. Wang Xianzhi) Yan Fang's exquisite artistic taste caters to the requirements of the literati, and people realize more and more that writing has an aesthetic value. Wang Xizhi, the calligrapher who best represents the spirit of Wei and Jin Dynasties and is the most influential in the history of calligraphy, is known as the "Book Sage". 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 floating clouds, agile as a dragon, and his son Wang Xianzhi's "Ode to the Goddess of Luo" is extremely powerful, creating a "broken style" and "a calligraphy" which is a great contribution to the history of calligraphy. With the help of Lu Ji, Wei Jin, Suo Jing, Wang Dao, Xie An, Jian Liang, and other calligraphy families, the calligraphy of the Southern School is quite prosperous. Yang Xin of the Southern Song Dynasty, Wang Sengqian of Qi, Xiao Ziyun of Liang and Chen Zhizhi always followed in his footsteps.
When calligraphy flourished in the Jin Dynasty, it was mainly manifested in running script, which was a font between cursive script and regular script. His masterpiece "Three Wishes", namely "Bo Yuan Tie", "Sunny Tie in Fast Snow" and "Mid-Autumn Tie".
3: Southern and Northern Dynasties
During the Southern and Northern Dynasties, China's calligraphy art entered the era of "Bei Bei Nan Tie".
the northern Wei and eastern Wei dynasties are the best calligraphers of inscriptions in the northern dynasties, and their styles are also rich and colorful. His representative works include Zhang Menglong Monument and Jing Shi Jun Monument. The representative works in the inscriptions are: A Thousand Words of True Grass. The Northern Dynasties praised the ancestors, revealed their family business, and carved many stones, such as the northern monument and the southern post, the northern opening and the southern travel, the northern people and the southern soil, and the northern glory and the southern show.
if we talk about the representative works of the north and the south, it is the south Liang's "Yiheming". The Northern Wei Dynasty's "Zheng Wengong Monument" can be described as a double star between the North and the South. Most of the northern writers were Shu Ren, and the book was anonymous. Therefore, calligraphy was crowned as the "saint in the book" and the northern writers were Wang Youjun. [Editor's note] Seeking the Rule of Longfa-Calligraphy in Sui, Tang, Five Dynasties and Sui Dynasty
Sui ended the chaos in the Northern and Southern Dynasties, unified China, and then Tang Dou was a relatively stable period. The development of Nantie and Beibei tablets went hand in hand with Sui, and the form of regular script was officially completed, ranking the 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 standardized bureau of the Tang Dynasty was set up. There are inscriptions in Sui Dynasty, most of which are authentic books, which are divided into four styles:
1. Ping Zhengchun and Ding Daohu's Qifa Temple Monument, etc.
2. Strict and strict prescriptions, such as Dong Meiren's Epitaph, etc.
3. Deep and round, such as Xin Xing Zen Master Ta Ming, etc. [
The Tang Dynasty with the heyday of calligraphy 1: A brief introduction to calligraphy in the Tang Dynasty
The culture of the Tang Dynasty was profound and brilliant, reaching the peak of feudal culture in China, which can be described as "the book flourished from the early Tang Dynasty". There are more ink in Tang Dynasty than in the previous generation, and a large number of tablets have left valuable calligraphy works. Calligraphy in the whole Tang Dynasty inherited and innovated from 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 far more influence on future generations than any previous era.
At the beginning of the Tang Dynasty, the national strength was strong, and calligraphy was separated from the legacy of the Six Dynasties, and everyone took Ou Yangxun as the 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 tidy, so the later generations' essays are said to be "the crown of calligraphy in Tang Dynasty", which was once honored as "the crown of calligraphy in Han Dynasty" and extended to the prosperous Tang Dynasty. With the combination of Confucianism and Taoism, Li Yong changed the right army's style and became unique. Zhang Xu and Huai Su pushed the cursive script expression to the extreme with madness and drunkenness, Zhang Xu was called "the sage of grass" in history, and Sun Guoting cursive script was known for its elegance and elegance. Yan Zhenqing, on the other hand, learned the ancient method from the new idea, while gave birth to the new method from the old one. Dong Qichang said that the Tang Dynasty learned from books, and Lu Gong made great preparations. In the late Tang and Five Dynasties, the national situation declined, and Shen Chuanshi. Liu Gongquan changed the model law again. Expose oneself with thinness and strength. It further enriched the method of Tang Kai, and in the Five Dynasties, Yang Ningshi took advantage of both Yan and Liu. When the two kings were on the throne, the flank took the posture and made great efforts. Therefore, when they left the chaos, they were the only image of Rao Chengping, which was also the light of the Tang book. On the occasion of the Five Dynasties, crazy Zen became very popular, which also affected the calligraphy circle. Although "crazy Zen calligraphy" did not show a large scale in the Five Dynasties, it had a great influence on calligraphy in the Song Dynasty.
the art of calligraphy in the 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 Jin calligraphy was deliberately pursued. In the mid-Tang Dynasty, innovation continued and it was extremely prosperous. There was also progress in calligraphy in the late Tang Dynasty.
There are six kinds of the highest institutions of learning in the Tang Dynasty, namely, imperial academy, Imperial College, Four Schools, Law, Calligraphy and Mathematics. Among them, calligraphy, which specializes in cultivating calligraphers and calligraphy theorists, is a pioneering work in the Tang Dynasty. Famous artists of the past dynasties came forth in large numbers, shining like stars. Such as Ou Yangxun, Yu Shinan and Chu Suiliang in the early Tang Dynasty; Yan Zhenqing and Liu Gongquan in the middle Tang Dynasty were all great calligraphers. 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 the Sui, Tang and Five Dynasties can be divided into three stages
(1) Sui unified China, including the culture and art of the Northern and Southern Dynasties. By the early Tang Dynasty, the politics was prosperous, and the calligraphy art gradually emerged from the legacy of the Six Dynasties, showing itself with a new attitude. At the beginning of the Tang Dynasty, regular script was the mainstream, and its general feature was put in order's strict structure.
(2) the prosperous Tang Dynasty and the middle Tang Dynasty
Calligraphy in the prosperous Tang Dynasty, like the social form at that time, pursued a romantic and ecstasy way. Such as "Dianzhang Zuisu" (Zhang Xu and Huai Su), Li Yong's running script. In the middle Tang Dynasty, regular script made a new breakthrough again. Yan Zhenqing, as the representative, laid a standard for 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 was preserved in the late Tang Dynasty and the Five Dynasties
In 197, Zhu Quanzhong, a separatist, destroyed the Tang Dynasty and established the Houliang, which was called the Five Dynasties. Due to the weakness and disorder of the country, culture and art are also on the decline. 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. On the occasion of the Five Dynasties, Yang Ningshi was praised in calligraphy. His calligraphy was a mainstay in the five dynasties when the calligraphy declined. There are also accomplished calligraphers such as Li Yu and Yan Xiu. At this point, the honest and rigorous style of calligraphy in the Tang Dynasty has come to an end, and then the "four schools" in the Northern Song Dynasty followed suit and set off a new wave of the times.
the calligraphy in the Song Dynasty from Song Dynasty to Ming Dynasty
The calligraphy in the Song Dynasty was artistic, which was caused by 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 stylized, and the fourth is artistic expression. At the same time, it advocates individuality and originality in calligraphy creation. These are reflected in calligraphy. If upholding the law in the Sui, Tang and Five Dynasties is the embodiment of seeking "work", then in the Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. That is to say, besides being natural and diligent, calligraphers should also be knowledgeable, that is, bookish. Northern Song Sijia changed the face of Tang Dynasty and directly inherited the tradition of calligraphy.
Cai Xiang, who is gifted, Su Dongpo, who is innovative, Huang Tingjian, who thinks highly of the ancients, and Mi Fei, who is adventurous in Xiao San, all strive to show their own calligraphy style, and at the same time, highlight an unconventional posture, which makes the spirit of learning gloomy between pen and ink and gives people a new aesthetic mood, which has been further extended by Wu Shuo, Zhao Ji, Lu You, Fan Chengda, Zhu Xi, Wen Tianxiang and other calligraphers in the Southern Song Dynasty. The representatives of calligraphers in Song Dynasty are Su, Huang, Mi and Cai.
Calligraphy Art in Yuan Dynasty
In the early Yuan Dynasty, there was little economic and cultural development, and the overall situation of calligraphy was to advocate retro, patriarchal Jin and Tang dynasties and less innovation. Although the Yuan Dynasty was ruled by foreigners politically, it was assimilated by Han culture culturally, which was different from the pursuit of artistic conception in Song Dynasty. The intention of the Yuan Dynasty was manifested in the pursuit of open beauty, so Su Shi advertised that "I can't make a book with my intention" and Zhao Mengfu advocated that "it is not easy to use a pen through the ages". The former pursued the meaning of rate, while the latter emphasized the meaning of intention. Zhao Mengfu was the core figure in the Yuan Dynasty, and his regular script "Zhao Ti", which was also called four styles with the European style, Yan style and Liu Ti of Tang Dynasty, became the main style of calligraphy for future generations. Because Zhao Mengfu's calligraphy thought is absolutely not one step ahead of the two kings, his calligraphy has a unique understanding of the subtleties of Wang's calligraphy, which is manifested in the style of "gentle and elegant" and "elegant and elegant", which is also related to his spiritual liberation from the detached state of Buddhism and aesthetics. Xian Yushu and Deng Wenyuan are 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.
Looking at the calligraphy of the Yuan Dynasty, the characteristic of the calligraphy of the Yuan Dynasty is "respecting the ancient times and sticking to the post", and its great achievements are still in cursive script. As for Zhuanli, although there are several famous artists, they are not very good. This kind of calligraphy with line and cursive script as the mainstream didn't change until the Qing Dynasty. There was a style of calligraphy in Yuan Dynasty, which still flourished in calligraphy along Song Xishi and lived in Tang Zongjin. Although each had its own merits, it could not stand in the world of calligraphy as a family. Compared with literature, painting and other art categories, it was still far from being successful.
the art of calligraphy in the Ming dynasty
the development of calligraphy in the Ming dynasty can be divided into three stages:
the first stage-the early Ming dynasty
calligraphy in the early Ming dynasty was characterized by "one word is different" and "taige style" prevailed. Brother Shen Duxue helped push the stable lower case to the extreme. "Every gold edition of the jade book is used by the imperial court, the secret house is hidden, and the book is awarded to the country and must be ordered." Er Shen's calligraphy was promoted as the imperial examination model. In the early Ming Dynasty, calligraphers included Liu Ji, who was good at cursive writing, Song Liao, who worked in small letters, Song Sui, who was good at seal writing, and Zhu Ke, a famous Zhang Cao. And Zhu Yunming, Wen Huiming and Wang Chong.
the second stage-the four schools of Wuzhong rose in the middle of Ming dynasty, and calligraphy began to develop in the direction of Shang. Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong went from Zhao Mengfu to Jin and Tang Dynasties, taking the highest method; The style of writing is also peerless, which is related to the development and liberation of ideas at that time, and calligraphy began to enter a new realm of advocating individuality.
The third stage-a critical trend of thought rose in the calligraphy circle in the late Ming Dynasty. In calligraphy, the original order of calligraphy began to collapse, with the pursuit of large-scale and shocking visual effects, taking advantage of the situation from the side, painting horizontally and smearing vertically, and covering the paper with smoke and clouds; These representative calligraphers include Zhang Ruitu, Huang Daozhou, Wang Duo and Ni Yuanrui. Dong Qichang, the commander of Tiexue Temple, still sticks to the traditional position.
lyricism and reasoning-from the middle of the Ming Dynasty to the end of the Qing Dynasty and the Qing Dynasty, the main trend of aesthetics took lyricism and reasoning as the banner, pursuing individuality and carrying forward rationality combined with each other, and orthodox classical aesthetics and new aesthetics seeking differences coexisted. The overall tendency of calligraphy in Qing Dynasty was to value quality, and it was divided into two development periods, namely, tiexue and stele study.
the wild pen and ink in the late Ming dynasty were wild. The cynicism was further extended in the early Qing Dynasty. For example, the works of Zhu Fu Shan and others still show my inner life and an unpredictable emotional expression. This point reappeared in the "Eight Eccentrics of Yangzhou" in the middle period. At the same time, the post-learning system in the late Ming Dynasty was further developed. While respecting tradition, Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi and Liang Tongshu Weng Fanggang tried to show a new look, or wrote in light ink, or changed the composition structure. However, due to the inheritance of the post in the senior period,