Liu Yong and Deng founded the school of stele study, while Ruan Yuan and Bao summarized their experience in writing books and put forward the theory of "towel collapse". From Xianfeng to the late Qing Dynasty, the study of steles was particularly prosperous. Before and after, Kang Youwei, Yi Bingshou, Wu Xizai, He, Zhao, Wu Changshuo and other masters successfully completed the reform and innovation. Up to now, the calligraphy of stele studies has developed rapidly and influenced the contemporary era. Throughout the 260-odd years of the Qing Dynasty, calligraphy changed from inheritance to innovation, which saved the decline of the river after the Song Dynasty. Its achievements can keep pace with the Han and Tang dynasties, and there are a number of outstanding fonts, which can be said to be the revival period of calligraphy. The following are representative works of various institutions.
Edit this passage Wang Duo: Running Script
Calligraphy in the early Qing Dynasty inherited from Seo Woo in the Ming Dynasty, and the influential calligraphers in the calligraphy world are still adherents of the Ming Dynasty, among which Wang Duo, Fu Shan, Zhu Da, Gui Zhuang, Song Cao and Mao Xiang are the representatives. They are all good at cursive script, and Wang Duo and Fu Shan have the greatest influence. Wang Duo's cursive style is bold and unconstrained, and it is unique for a while. Fu Shan's cursive writing is not as strong as Wang Duo's, but because it is not clear, he uses calligraphy to express his thoughts and feelings, so he is indifferent and complacent. Zhu Da's cursive script hides his head and protects his tail. His pointillism and its turning point contain a painful emotion of national extinction and death, which is the same as his paintings. The wild grass style in the late Ming Dynasty did not develop in the Qing Dynasty, which was due to the cultural policy of imprisonment and the wild grass style in the Qing Dynasty.
Therefore, there are very few calligraphers who can write cursive scripts after the early Qing Dynasty. In addition, Kangxi loved Dong Qichang's calligraphy, and admired Zhao Mengfu's calligraphy when he was in Qianlong. As a result, the calligraphy styles of Zhao and Dong have greatly increased, and ordinary calligraphers only take Zhao and Dong as models. However, the imperial examination system in the Qing Dynasty required both elegant and popular tastes, which made the calligraphy in this period look weak and charming. At this time, the post study is even narrower. The representative calligrapher at that time was Shen Quan, the tenth grandson of Shen Du, a calligrapher of Taige style in Ming Dynasty. He studied Dong Qichang, and wrote imperial books mostly by him. Gao Shiqi also studied Dong Qichang's calligraphy, and was recommended to the palace for his calligraphy, so he was favored by Kangxi. Chen's cursive script was also appreciated by Kangxi, Yongzheng and Qianlong. In the eleventh year of Yongzheng (1733), he was ordered to turn his inkstone into a 10 volume of "Dream of Mo Lou Tie". In addition,, Jiang,, He Chao, also known as the Four Heroes of Kangxi. Some of these people are scholars, some are painters, and their works are rich. Although their calligraphy is far inferior to that of Jin and Tang Dynasties, it is actually greatly influenced by Zhao Mengfu and Dong Qichang, and their works are also inseparable from the weak temperament brought by the study of calligraphy.
Edit this paragraph Fu Shan: cursive script.
Fu Shan's ci includes Qing Zhu, Qiao Shan and Gong Ta. There are many names. After entering the Qing Dynasty, it was also called Zhenshan, a Taoist named Zhu Yi, Huaguanweng and a native of Yangqu, Shanxi (now the suburb of Taiyuan, Shanxi). I have been enlightened since I was a child. I like Ren Xia, and I am endowed with integrity. During the Chongzhen period, he used a piece of cloth to mobilize dozens of students to write a letter, pleaded for the Yuan family in Shanxi, and bravely defeated the eunuch and powerful minister for adultery, so that he could avenge himself and become famous in the ruling and opposition circles. At the end of the Ming Dynasty, he and Gu and others secretly engaged in anti-Qing activities and were arrested. In prison, "I refused to give in to words, fasted for several days and died several times." (A Brief Introduction to Mr. Fu Qingzhu in Yangqu in Wang Zu). During the reign of Emperor Kangxi, the imperial court established the erudite poetry department. Fu Shanshi is 72 years old, and local officials forced him to take an exam in Beijing. He refused to go because he was ill. Officials actually ordered people to get out of his bed and walk three miles outside the capital. Fu Shan refused to enter the city, and the Qing court was exempted from examination. He specially sealed the "Chinese Book Sheren" and let it out. He neither thanked him nor accepted it. He saw him off when he left Beijing. Fu Shan is proficient in Confucian classics, philosophers, and interpretation of the old, and he has written 40 volumes of first frost Hongniche. Good calligraphy and painting, fine appreciation, open the source of epigraphy in Qing Dynasty. At the same time, he is a medical scientist with superb medical skills and a pioneer of ideological enlightenment with critical and creative spirit in literature and art. "Ning Zhuo is not smart, rather ugly than flattering, rather the fragments are not smooth, rather the truth is not arranged." For more than 300 years, his artistic thoughts have been highly respected. Fu Qingzhu's calligraphy tradition has a deep foundation. The whole "A Brief Introduction to Mr. Yangqu" (Fu Shan) said: "Gongshu, arrogant Xiao Zhuan, below the official rank, are all fine, and they are painters." His short play "Qian Wen" caught up with Zhong Wang, simple and Gu Zhuo. He started in Zhong You at the age of eight or nine, and later studied Wang Xizhi and Yan Zhenqing. By the age of twenty, I had "spread the regular script of Jin and Tang Dynasties all over the place". He likes to write books with seal script, attaches importance to bone strength, admires calligraphy, participates in Zhong Wang's interest, and is influenced by Wang Duo's calligraphy style, thus forming his own unique features, which made him famous before middle age. Fu Shan, who is in the style of Dong Zhao's calligraphy, also studied Zhao Mengfu, but later he took Zhao seriously. "I don't like Zhao Ziang very much, but I hate his books because I despise him. If I look carefully, I can't blame it. I am mature and charming, and I still have a positive pulse. There has been a little change since Lanting gathered momentum, which is also a fate to compete with the times. It's not just an article. " (A Collection of Xiao Sheng Shuang Hong), a typical assertion in the history of calligraphy criticism that "books are like people" is naturally related to the special period when he was born. He also said that "writing creates people first, and people have strange characters since ancient times. The outline is always against Kong Zhou, and pen and ink are irreplaceable. " ("Writing Words to Show Children and grandchildren"), this kind of exposition was undoubtedly a sobering agent for the early Qing Dynasty when "slave books" prevailed at that time. He advocates right and wrong, belittles agility and charm, and values nature. His artistic concept of being a man and being original is authentic in calligraphy, which is worth imitating by future generations. At the same time, because of his "study festival", the world cherishes his calligraphy. During the decline of calligraphy, some calligraphers got up to study Han steles. Guo Zongchang, the first person who advocated the study of steles, once worked in Han Li and wrote The History of the Study of Steles, aiming at promoting the development of the study of steles. In addition, Wan Jing wrote "Biebieli" and Gu Aiji wrote "Li Bian", which had a certain influence on advocating the official script of Han Dynasty. At that time, learning seemed to have become a trend, such as Gu Ling's Monument to the Lower City, Zheng's Monument to Guo Youdao and Zhu Zun's. Other calligraphers who can write official script include Wang Duo, Fu Shan, Wang Shimin, Zhou Lianggong, Cheng Ai and Wang Shu. Among them, Zheng He and Zhu Zun have the greatest influence. Zheng loves historical sites and has a rich collection. He has studied Han Li for over 50 years. His official script mainly used Cao Quanbei, and he wrote official script in cursive script. His official script had a great influence on calligraphers at that time. Zhu Zun is a literati poet, and his official script is fresh and beautiful, learning from Cao Quanbei and incorporating Ou Yangxun's calligraphy. In the middle of Qing dynasty, iron blood was still very popular. Qianlong has been in office for a long time and has a deep love for books. He tried his best to collect historical records and ordered Liang to engrave Sanxi Hall, which played a positive role in the development of iron science. Qianlong taught himself Zhao Zi, traveled to the south of the Yangtze River and wrote poems and monuments everywhere. When the wind blows, it is naturally cursive.
Pavilions and pavilions are popular for learning miscellaneous books At that time, there were Zhang Zhao, Wang Youdun and Kong. Zhang Zhao started in Dong Qichang, followed by Yan Zhenqing and Mifei. Although the result is not as good as Dong Qichang's, his writing is slightly better. Liu Yong, Liang, Weng Fanggang, etc. are also representatives of iron-blooded calligraphers. Weng Fanggang spared no effort to study Tang steles and also dabbled in Han steles. His temperament is still similar to calligraphy. He is good at Xiao Zhuan, but he has made great contributions to the study of steles, such as Inscriptions in the Han Dynasty and Selected Inscriptions in Zhaitang, Su Mi. In his early years, Liang's calligraphy was dominated by Zhao and Dong, from Yan, Mi, Gong Kai and Xing. His calligraphy was elegant, but he lacked vigor. He, Liang, also known as San Liang. Liu Yong, calligraphy takes the road of Dong Qichang, with thick and heavy force, shaking muscles and gathering pulses. Wang Wenzhi's calligraphy is graceful and elegant, but he lacks Liu Yong's courage. In addition, Yao Nai's running script is dense, Yong's regular script and cursive script are elegant and beautiful, and his regular script is rich and plump, while his cursive script and Guo Shangxian's running script are all famous at that time.
Edit this paragraph: Jin Nong: lacquer book
In the middle of Qing dynasty, the trend of stele study gradually opened up, and calligraphers of stele study emerged constantly. Famous ones are Jin Nong, Deng and Yi Bingshou. Jinnong is one of the eight eccentrics in Yangzhou. His regular script was taken from the inscriptions in the Wei, Jin, Southern and Northern Dynasties, and was learned in Twenty Paintings in Longmen and Monument to the Temple of Heaven, creating so-called lacquer books, striving for the effect of knife cutting and emphasizing the taste of stone. Jin Nong's poems directly reduced Wang Xizhi's calligraphy to vulgarity. He doesn't want to be his handmaiden, but would rather learn the Huashan tablet in the Han Dynasty. It is very bold to attack the iron and blood in this way and advocate learning monuments at that time when the iron and blood was prevalent. Because of the rise of scholars' research on epigraphy in Ganjia period, it also opened the eyes of calligraphy circles. So Ruan Yuan wrote "On the North Monument and the South Post" and "On the North-South Calligraphy School", and strongly recommended the study of steles. He said: most of Song Yuanming's calligraphers were trapped by Ge Tie. It seems that there is no calligraphy except wedge ties. He asked people to shake traditional customs and stick to the laws of Han and Wei dynasties. Ruan Yuan's two articles have a great influence, which is no less than the declaration to promote the study of steles. Then, Bao also talked about the study of steles in "Two Boats" and proposed that Deng should be regarded as a model for studying the study of steles. Deng was a famous calligrapher of epigraphy in Qing Dynasty. He has been out of school since childhood, and he has been well-fed all his life. He makes a living by selling books and painting.
He is good at four-body calligraphy and seal cutting. He broke through the writing style of Li Si and Li Yu's seal since Qin Dynasty and created a new style of seal cutting. His official script study of Han steles spread all over Han and Wei steles, and inherited the official script method of Han Dynasty, forming a beautiful and dense new style. Deng's regular script was taken from the inscriptions in the Northern Wei Dynasty, and cursive script evolved from the inscriptions. Coupled with his achievements in seal cutting, he created a style full of gold and stone. Yi Bingshou is good at official script, and his calligraphy style is Yan. He is bold and has a unique style. Kang Youwei believes that Deng and Yi Bingshou are the founders of the Qing Dynasty stele study. In addition, many calligraphers who were good at calligraphy as scholars appeared in this period, such as Gui Fu, Qian Dian, Sun Xingyan, Qian Daxin, Qian Yong and Zhang Tingji. They are all good at official script. Because they have a solid foundation in philology, their official scripts are elegant, elegant and quaint. During this period, some painters were also calligraphers, such as Zheng Xie, Huang Shen, Wang and Li, among the Eight Eccentrics in Yangzhou. They all had their own styles and characteristics. Zheng Xie combined truth, grass, seal script and official script in one furnace, hence the name "Six Books and a Half". Wang's official script and Huang Shen's cursive script embody unconventional artistic styles. Among the seal engravers, there are eight such as Xiling, and everyone is good at writing. Ding Jing inherited the method and practiced cursive script, which was simple and got a broad and innocent taste. Jiang Renxing cursive script in and out of Yan and Mi, but concise in Bo. The official script of Huang Yi and Xigang is completely derived from Han script. Chen Hongshou's official script is a blend of official seal and official seal, which is fresh and interesting.
Edit this passage Yi Bingshou: Official Script
Compared with the middle period, calligraphy in the late Qing Dynasty was not popular, but the study of steles was still in the ascendant. At this time, seal script and bronze inscriptions flourished, and the bronze inscriptions unearthed in Han, Wei, Southern and Northern Dynasties increased day by day, which still played a great role in calligraphy. Kang Youwei believes that there were four changes in calligraphy in the Qing Dynasty: during Kang Yong's reign, it was designed to imitate Dong Qichang; When Qianlong, everyone rushed to imitate Zhao Mengfu; Ou Yangxun's calligraphy prevailed in Jiaqing and Daoguang periods; The study of steles in the Northern Dynasties sprouted in Xianfeng and Tongzhi periods. Although this view is not accurate, it is generally in line with the trend of calligraphy in Qing Dynasty. Epigraphy occupies a major position in calligraphy in the late Qing Dynasty, which makes calligraphers who mainly study epigraph have to face up to epigraph calligraphy, and epigraphy calligraphers are also compatible with epigraphy, so that calligraphy in the late Qing Dynasty has another scene. Calligraphy in the late Qing Dynasty was represented by He, Zhao and Wu Changshuo. Based on Yan Zhenqing, He's calligraphy is a collection of ancient seal strokes of Zhou, Qin and Han Dynasties, and down to the inscriptions of Sui and Tang Dynasties in the Southern and Northern Dynasties. His achievements in cursive writing are particularly outstanding. Regular script is beautiful and elegant, and it has the charm of calligraphy in Tang Dynasty. In his later years, he improved the seal script. After the age of 60, he almost always wrote Han Li's famous inscriptions, so his official script style is steady, and Gu Zhuo is heavy. His cursive script combines Yan characters, northern dynasties inscriptions and seal cutting in one furnace, which is unrestrained, detached and naive. Zhao's calligraphy, painting and seal cutting are very long. His calligraphy was a beginner in Yan Zhenqing, and later he took the inscriptions of the Six Dynasties. His regular script is all about Wei's face, and he writes a square tablet of the Northern Wei Dynasty, which is euphemistic and cursive.
Without exception, Li's main body mixed with the Northern Wei style to form his own style. He and Zhao had a great influence on calligraphy in the late Qing Dynasty. Calligraphers in this period also included Zhang Yuzhao, who regarded the North Monument as a Sect, lofty and dignified, and used a pen with an outer circle and an inner circle. His regular script also had a certain influence on later. Wu Xizai has made outstanding achievements in seals and official seals. He is a disciple of Bao. He studied Deng's seal script, but he lived in seclusion. Unfortunately, he lacks personality, learns from Chen Shi, and lacks creativity. Yang Yisun is good at seal script. He is very energetic. Wu Da is a collector of epigraphy. Good at writing seal script and official script, and official script is stable. Seal script can be written in gold structure, with a new look. At that time, there was Xu Sangeng who wrote seal script with the brushwork of "Heaven sends God to the North"; Mo Youzhi wrote seal script with "Mountain Monument of Zen Country" and Han Ming, each with its own characteristics. Yu Yue and Yang Xian wrote official script. In addition, Weng Tonghe is famous for writing lines and opening letters. His calligraphy changed from Yan to Wei, old and simple, and his brushwork was dignified. In his later years, he also wrote official script, which was extremely concise.
Edit this passage Sun Xingyan: Seal Script.
Yang Shoujing, Wu Changshuo, Kang Youwei and Shen were the most famous calligraphers in the late Qing Dynasty and the early Republic of China. Yang Shoujing is good at writing official script and regular script, and has a large collection of inscriptions in the Han, Wei and Six Dynasties. He once traveled to Japan, brought many inscriptions and accepted Japanese students. He is the author of "Pingbei Collection" and "Learning Words", which has a certain influence on modern Japanese calligraphy. Wu Changshuo, a great calligrapher, painter and seal engraver in the late Qing Dynasty, made the deepest efforts on Shi Guwen, changed it into a long scroll and paid attention to momentum. Li Shu also imitated the "Sangong Mountain Monument" and "Pei Cenji Monument" in the Han Dynasty. Running script caught up with the Tang Dynasty from Wang Duo, and "vigorously embraced seal script as a weed" in his later years, achieving mastery through a comprehensive study and opening up a new realm. Shen is a famous scholar. He studied the calligraphy of Zhong You and Suo Jing, and even wrote inscriptions for the Han and Wei Dynasties. In his later years, he was good at Cao Zhang, and since stele study prevailed, calligraphers devoted themselves to seal script, and cursive script was rarely famous. Shen Cengzhi initiated a new method of cursive script, which had a certain influence on later generations. On the calligraphy theory, Kang Youwei gave full play to Ruan Yuan's and Bao's view of worshipping monuments and wrote Two Boats of Guangyi, which had a great influence on modern calligraphy theory. His calligraphy is also rooted in the inscriptions of the Northern Dynasties, especially the inscriptions of the Northern Wei Dynasty and the stone carvings of Yunfeng Mountain in Yexian County, Shandong Province, which have the deepest influence on him. Therefore, his calligraphy is clumsy and unique.
Edit this paragraph Jiang Ren: Running script
Summarizing the development of calligraphy in Qing dynasty, we can see the competition and growth and decline between inscriptions and calligraphy in the development of calligraphy in Qing dynasty. There are objective reasons for the rise of epigraphy in Qing Dynasty: ① The prosperity of epigraphy textual research since the middle of Qing Dynasty. In order to avoid the internet, intellectuals in Qing dynasty embarked on the road of studying epigraphy. At this time, inscriptions from the Han, Wei, Southern and Northern Dynasties were constantly unearthed. In addition to the help of textual research, the words on the inscription also provide brand-new materials for calligraphy and broaden the horizons of calligraphers. On the other hand, the writing of seal script and official script needs the origin of characters, and the achievements of philology in Qing dynasty provided the foundation for calligraphy art, so many calligraphers in Qing dynasty were also inscriptions. (2) The development of seal cutting also provides conditions for the innovation of calligraphy. Calligraphers in Qing dynasty were good at printing, and they could apply the simple taste of epigraphy to calligraphy creation, which made calligraphy have the spirit of epigraphy. These are all calligraphy since the Sui and Tang Dynasties.
Never existed in legal art. (3) The development of literati painting makes painting more calligraphic. On the contrary, literati painting adds new blood to the art of calligraphy. Therefore, calligraphy in the Qing Dynasty has been created with pen, ink and even composition.
Edit this passage of Emperor Qianlong's calligraphy.
Emperor Qianlong, namely Emperor Gaozong of the Qing Dynasty (1711-kloc-0/799), Aisingiorro Hongli, four sons of Sejong. Emperor of Qing Dynasty, reigned from 1735 to 1795. After he succeeded to the throne, he successively leveled the northwest and southwest, resisted Gurkha's invasion, refused the unreasonable request of British Ambassador Mazany, encouraged reclamation, issued a ban on books, repeatedly built a literary prison, opened four libraries, and compiled and renewed three links and imperial three links. In his later years, Shi Quan, a self-styled old man, indulged in Wenzhi's martial arts and allowed himself to be monopolized by arsenic and become increasingly corrupt. Gan Long loved calligraphy all his life. After a few years, he specially collected famous calligraphy products from past dynasties and collected many calligraphy handed down from generation to generation in China.
The great achievement of calligraphy art, great scholar Liang and others greatly praised him, saying: "The emperor is sincere in nature, learning the history of warehouses, and exploring eight methods in his spare time." Bao Han hangs down, the clouds close in summer, and the phoenix grows. If you get together, you will get both. If you chase two kings, you will get both. After careful tasting and study, we know that the works of various schools are clumsy and true, such as mirrors, and we can't hide their shapes. Knowing that the Holy Son of Heaven is seeking for goodness and Taoism, Jiahui comes to learn, and the heart of Taoism is eternal. "