What are the reasons for the prosperity of official script and the emergence of famous artists in Qing Dynasty? Judging from the social situation, the politics and metallurgy of the Qing Dynasty are extremely unclear. In the early Qing Dynasty, in order to avoid "literary inquisition", scholars turned their energies to the field of epigraphy. Of course, due to the increasing number of unearthed stone tools and Yi vessels, it also provides a material basis for the study of stone textual research. Scholars in the Qing Dynasty were rigorous in their attitude towards learning and advocated the concept that "ignorance of one thing is a shame to Confucianism". Under the guidance of this concept, textual research in Qing dynasty developed unprecedentedly, and the remains and scraps of paper that people didn't pay attention to became the treasures that textual researchers sought. Scholars' research in Qing Dynasty, such as Wan Shouyi's Leaving Li by mistake, Gui Fu's Talking about Li, Weng Fanggang's Hanshu Stone, Gu's Stone, etc. It provided academic objective conditions for the prosperity of official script in Qing dynasty, and made the official script writers in Qing dynasty partially improve the traditional official script in line with the Chinese character structure, thus greatly improving the official script in Qing dynasty.
From the perspective of absorbing sister art, Deng organically transplanted some advantages of seal cutting into the practice of official script, thus making calligraphy "golden stone flavor", enriching the expressive force of official script and being typical. As Wei Xi once pointed out in the Tang Dynasty's On Book Collection and Printing: "If a white book is printed, the seal will come from the book." Deng, an official scholar, is good at seal cutting; Similarly, Jin is a great official secretary who is good at seal cutting, so he is Yi, Chen Mansheng, He and Wu Kutie. It is no exaggeration to say that seal cutting has expanded the artistic charm of honest officials.
Judging from the advantages of widely absorbing other books, the nutritional components of Li Qing are weighty. Han Li, a calligrapher in Qing Dynasty, is a great scholar in studying Han steles and their innuendos. The core point of calligraphy "shape" is abstraction, which has the ontological law of time series and linear framework, and is irreversible and irreducible. Han Li stele or stele shadow also has these attributes. The enlightenment of these tablets or shadows to the official calligraphers in Qing Dynasty is obvious. In addition to these inscriptions or inscriptions, the official calligraphers in Qing Dynasty also carefully wrote the inscriptions and inscriptions of Wei, Jin, Southern and Northern Dynasties such as Fan Xing and Li Zhongxuan, and of course paid attention to the methods of imperial edict, brick carving and mirror carving. Because of this, the official script in Qing dynasty broke the boundary between traditional official script and other official scripts, and embodied the development concept of official script people in Qing dynasty. Zheng Gukou, who had the highest achievement in official script in the early Qing Dynasty, entered official script by cursive method, and his official script was listed as On Yipin by Bao Shenbo. Zhu Yizun, a great scholar and poet with a long history of chanting scriptures, entered the official residence of Europe and France with "beautiful brushwork and transcendental charm" (Call). In addition, the entry of the military tablet in Jin Dynasty into official script and the entry of the land in Iraq into official script all made official script present their own aesthetic orientation. This kind of dynamic and static official script is unprecedented, which fully shows the characteristics of "enjoying oneself" and "feeling with heart" in the Qing Dynasty, which significantly strengthens the tension of official script in the metaphysical and metaphysical levels and constitutes a remarkable peak in the history of official script development.
Judging from the tools used by calligraphers in the Qing Dynasty, they are also superior to their predecessors. The history of Four Treasures of the Study studies in China tells us that before the Song Dynasty, generally speaking, most writers used bristles; Since the Ming dynasty, the number of people using soft hair has gradually increased; Specifically, from the Ming Dynasty to the Qing Dynasty, wool was widely used. "Postscript of Boluo 'an Painting and Calligraphy" said: "The pen should be soft, soft and long; The pen should be long, and the spirit is long. "Changfeng Yang Hao has the following characteristics: First, it is convenient to store ink and has a large amount of ink; Second, the rotation space is large, which is suitable for the operation of the "swallow-tail" brushwork of the characteristic pen of Lishu. Reading Deng's official script, we can strongly feel these characteristics of sheep's hair growing.
From the perspective of keeping pace with the times, Qing Li has the characteristics of expressing spirit, emancipating the mind and learning from Han Li without being bound by Han Li. In Shi Tao's words, she has the courage to "borrow the past to open up the present." For example, Zhao's official official official script and Weibei's official official script all have unique personal styles, which fully show their good self-cultivation, excellent character, broad mind and exquisite skills. Really: "Books are like their learning, their talents, their aspirations, in short, books are like people." (Liu Xizai's "Outline of Arts and Books")
Judging from the ink color, a major feature of the Qing Dynasty is its bright ink color. Where did the work come from? Start your life by being good at using water. He, Zhao and Wu Kutie. They are all experts in using ink, and they use water instead of rotting, moistening and drying alternately, so that ink color fully shows its artistic charm in official script. The intellectual grasp of calligraphy image is "Fa", and the emotional brewing of calligraphy image is "Yi". The master of official script in Qing dynasty exhausted his thoughts on the material of "water" and fully explored the artistic expression of ink color, so the official script in Qing dynasty left a very profound theoretical thinking point and practical operation point for the latecomers in using "water".
The predecessor of epigraphy in Qing Dynasty was the strong development of Qing Dynasty. In the early Qing dynasty, calligraphy was monopolized and its style was single. Due to the pressure of historical and cultural accumulation, calligraphy trudges in the long journey of becoming a Taoist by law. The most obvious thing is that the ingenious beauty of posts led to the erosion of calligraphy in the early Qing Dynasty by "pavilion style", thus forming a weak and low-level situation. In the early Qing Dynasty, the main writing form was official script. Li Qing not only initiated the development of epigraphy in Qing Dynasty, but also developed and changed with the development of calligraphy in Qing Dynasty for 300 years.
The official script of Qing dynasty that publicizes individuality
As we all know, the Qing Dynasty was a politically groggy and decadent dynasty, but calligraphy, especially official script, was revived in this era. This is certainly not accidental. On the one hand, as mentioned above, since the reign of Huan and Ling in the Eastern Han Dynasty, the situation has gone from bad to worse, and Song Yuanming has attracted little attention. Eight-part seal script is almost extinct [8]. The calligraphy style of "Two Kings" is known as the originator of Iron Studies, and has long been highly praised by Liang Wudi and Emperor Taizong. Zhao Mengfu's Yuan book, with the "two kings" as its mantle, was defeated by vulgarity [9] and Dong Qichang's Ming book [10]. Although it was not important enough, it won the appreciation of the Ming and Qing emperors, so that from the Ming Dynasty to the early Qing Dynasty, Zhao and Dong's book styles brought out the best in each other. Coupled with the imperial examination, the pavilions are prosperous, with thousands of people and faces, and the words are the same. It can be said that the calligraphy of the Qing dynasty, which earned a living within the scope of the "two kings", has been extremely decadent. Extremes must be reversed. This contradictory movement of calligraphy art has objectively accumulated great kinetic energy for the revival of official script, just like a huge active volcano, which is on the verge of eruption. On the one hand, during the period of Kang, Yong and Gan, in order to strengthen imperial power and prevent subversion, the Qing government stepped up efforts to clamp down on the thoughts of Han middle school students, resulting in a dense network of articles. In order to escape the cruel reality, people have to turn to other things. Among them, many people devoted themselves to the investigation of ancient books and the textual research of epigraphy. Therefore, inscriptions, as records of historical documents of the Han Dynasty, are favored by people as never before. At the same time, the aesthetic value of the calligraphy art of Han tablet has also aroused people's extensive interest and concern. After textual research, many people are immersed in the exploration of the calligraphy style of Han officials, which has led to the development of "Sinology" and "respecting monuments and humble posts" in academic circles. Obviously, it is this "literary prison" that is still creepy to think of, which has activated the "Lishu" volcano that has been sleeping for 1400 years.
In addition, in the early Qing Dynasty, several people with foresight and personality also contributed to the revival of Qing Li. The first is Fu Shan. Fu Shan's cursive script is more famous than the world, and his style is still iron and blood. However, his words and deeds have completely demonstrated his idea of a monument to honor. He said: "The incredible thing about Han Li is that it is hard and clumsy. I didn't mean to arrange it properly at first. If the side is narrow and the left and right sides are dense, I believe it and it will be dense. " [1 1], especially his aesthetic thought [12], is incompatible with charm, grace and femininity. He practiced, walked on the grass and learned to leave the country. Although not yet mature, the simple and honest taste of the work swept away the bad habits of stereotyped writing since the Jin and Tang Dynasties, which had a strong rebellious significance at that time. Therefore, Fu Shan can be said to be the forerunner of the rise of epigraphy and the revival of official script in Qing Dynasty. Followed by Wang Shimin, Zheng Zhi and Zhu Yizun, known as the "Three Lies in the Early Qing Dynasty". Zheng and Zhu vigorously advocated the study of steles, devoted their lives to the research and textual research of epigraphy, and paid attention to practice, creating an eight-part essay style with distinctive personality and high artistic value. Although Wang Shimin is a representative of the school of retro painting, his eight points go straight to the Qin and Han Dynasties and are full of ancient flavor. The lines are not as smooth and thin as those in the Tang Dynasty, and the pen and ink are not as "black" and "dead" as those in the Ming Dynasty, and they are very particular about the change of lightness. In these respects, his works are more innovative than those of the Tang Dynasty. The achievements of "Li San" in the early Qing Dynasty basically represented the level of dividing books in the early Qing Dynasty, which laid the foundation and opened the way for the later revival. Finally, Shi Tao, a monk from Zhu Ming. Shi Tao is admired by people for his great painting achievements and innovative spirit. In calligraphy, he is also an important figure who advocates the liberation of personality and respects monuments and humble posts. His Eight Signs, "Elegance and Elegance" [13], have an extraordinary style, which provides another brand-new "banner" for later calligraphers to break through the official book barrier since the Jin and Tang Dynasties.
The culture of epigraphy, textual research and philology in Qing Dynasty nourished the vitality of the revival of official books in Qing Dynasty. Some sinologists and park scholars, with profound academic accomplishment, began to write official scripts and become scholars. Since then, the trend of thought of stele study has added fuel to the flames, opened up the calligrapher's aesthetic vision and formed a new aesthetic view of official script. The continuous excavation of inscriptions has played a supporting role in the new aesthetics of official script, even though people's eyes are wide open. With the popularization of modern printing technology, handed down inscriptions and unearthed books have been widely spread, which greatly facilitates people's study, research and crystal appreciation. These social and cultural factors have promoted the revival of official script to a greater or lesser extent.
First, the official script in the early Qing Dynasty
Zheng Lan was the first official script in the early Qing Dynasty, followed by Zhu Yizun and Shi Tao. Zheng Lan (1622— 1694), a native of Shangyuan (now Nanjing), was a doctor. Song Jue, a jurist at the beginning of Lishu, later "deeply regretted not seeking for this, but learning from Han steles, knowing simplicity since ancient times, is clumsy and strange." He devoted his life to official script, sweeping away the extreme spirit since Wei and Jin Dynasties. He was vigorous, steady, flying, and had a heavy reputation for a while. Zhu Yizun praised it as "the first in ancient and modern times". Zhu Yizun's official script is famous for its elegance. He and Zheng Lan discussed and inspired each other. Qian Yong's Talk in the Garden: "At the beginning of the country, Zheng Jiakou began to learn the Han tablet, and later he discussed it from Zhu Zhuwa, and Han Lizhi's study was revived."
The official script of Shi Tao, a famous painter, was initially influenced by Zheng Lan, and then added with running script, which injected fresh brushwork into the ancient and clumsy official script. Gao, Wang, Jin Nong, Gao Xiang, etc. "Yangzhou Eight Eccentrics" all have unique official script skills. In particular, Jinnong's official script is the most innovative, forming an artistic image called "lacquer script" by the world. Ding Jing, Huang Yi and Chen Hongshou, seal engravers of Xilang who have close contacts with the Eight Eccentrics of Yangzhou, also have their own characteristics in the creation of official script. Ding and Huang Jing are skilled and Chen Xiongzhuang. These painters and seal engravers are active in artistic thinking and have different views on the aesthetic creation of official script, which is also a major reason why the artistic characteristics of official script in Qing Dynasty are different from those in Han Li.
Deng and Yi Bingshou are representative calligraphers in Qing Dynasty. Deng (1743— 1805), whose original name was Yan, was later changed to stubborn bo, and he was from Huaining, Baishan, Anhui. He creatively developed seal script and made great efforts in official script, covering more than 50 kinds of Chinese scripts, and used both seal script and official script. Yi Bingshou (1754- 18 15), a native of Tingzhou, Fujian Province, was recommended as a master of book collection by Kang Youwei because of his broad body, poor brushwork and imposing manner. Gui Fu, who was as famous as Yi Bingshou at that time, was also good at official script, but his style was different.
Second, the official script in the late Qing Dynasty
The official script in the late Qing Dynasty was developed in the trend of thought of stele study. Ruan Yuan, Bao and Kang Youwei's stele studies, from the Southern and Northern Dynasties to the Han Dynasty, made a deep discussion on their artistic origins and styles, and highly praised the revival, thus further promoting the development in theory.
He lived in Yan Zhenqing at the beginning, then studied North Monument, and found a new way in calligraphy. In his later years, he traveled all over Han Li, and each monument reached several levels. He adopted the reading method of "being attacked on all sides" advocated by Su Dongpo. Every time he comes, he focuses on one end, or takes the charm, momentum, pen or cloth, making the nearby books look like the original monument, and over time, they merge with the pen. His temporary works on the Han tablet have been published. The fifteen volumes of China Ancient Chinese Ink Grand View published its official script picture, which is simple and easy. Zhao is talented and versatile, and he is very accomplished in calligraphy, painting and seal cutting. He is skilled in seal cutting, and he uses his pen to go down the river with many changes.
Wu Xizai is Bao's disciple. Proficient in epigraphy, learning seal cutting from Deng, good at seal cutting. He is close to the Han tablet, and his pen is powerful. Yang Shoujing, a famous historical geographer, once went to Japan, which had a great influence on the development of Japanese calligraphy. His official script is vigorous and powerful, with a golden stone flavor. Judging from the origin of book style, there are traces of his closing teacher, Yang Xian. Yang Xian's official script is still elegant.