Qin dynasty
Li Si, a famous calligrapher, presided over the compilation of Xiao Zhuan. Li Si wrote the stone carvings of Mount Li, Mount Tai, Langya and Huiji. All previous dynasties have a very high evaluation.
Eastern Han Dynasty and Southern and Northern Dynasties
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 Shark's "Jia Jing" reached the requirements of restoring ancient ways to Li and opening a tire. Inscription is the most important art form reflecting the times and phonology, among which Feng Longshan, The Story of the Western Chamber, Kong Zhou, Yi Ying, Chen Shi, Zhang Qian and Cao Quan are especially admired and imitated by later generations.
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, and later called "Cao Sheng".
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.
1, 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. The Three Kingdoms (Wei) Period's "Recommended Season Straight Table". "Declaration Form" and so on have become the treasures of several generations.
2. Jin Dynasty
In the Jin Dynasty, he advocated elegance and taste in life, and pursued the beauty of moderation and simplicity in art. Calligraphers came forth in large numbers, simple and elegant.
For more than two kings (Wang Xizhi. Wang Xianzhi) Yan Fang's exquisite artistic taste caters to the requirements of literati, and people increasingly realize that writing has aesthetic value. Wang Xizhi is the most influential calligrapher who can represent the spirit of Wei and Jin Dynasties.
They are called "book saints". 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.
If Long Jing Hong, his son's "Ode to the Goddess of Luo" has infinite power, creating "breaking the body" and "a stroke", which is a great contribution in the history of calligraphy. Add Lu Ji, Wei and Jin Dynasties, Wang Dao, Xie An and Jane.
In sharp contrast to Liang and other calligraphy families, Nanshu is quite prosperous. Yang Xin, Qi, Xiao Ziyun and Chen of Liang in the Southern Song Dynasty were all his followers.
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 "Sanxi", namely "Yuan Bo Tie", "Sunshine Tie in Fast Snow" and "Mid-Autumn Festival 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 Dynasty and the Eastern Wei Dynasty are the best calligraphers in the Northern Dynasties, and their styles are also colorful. Representative works include Zhang Menglong Monument and Shi Jing Jun Monument. The representative works in the inscription are: thousands of words are really grass. The Northern Dynasties praised their ancestors and revealed their family business, and carved many stones, such as the North Monument and the South Post, the North Tour, the North People and the South Land, and the North Glory and the South Show. These are two basic differences.
For example, the masterpiece of the North-South School is the crane inscription in Nanliang. The "Zheng Wengong Monument" in the Northern Wei Dynasty can be described as a binary star between the North and the South. Most northern writers are Shu Ren, and this book is anonymous. Therefore, calligraphy was crowned as "the sage in the book", while the northern writer was Wang Youjun.
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Sui, Tang and Five Dynasties
calligraphy from the 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 prescriptions such as Dong's Epitaph.
3, deep and round, such as "Xin Xing Zen Master Taming" and so on
4. Xiulang is as exquisite as the "Longzang Temple Monument".
Calligraphy in 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 characteristics and structure are rigorous and neat, so the theory of offspring
There is a saying in the book that "the Tang Dynasty was heavy", which was once regarded as the "crown of calligraphy" and extended to the prosperous Tang Dynasty. Confucianism and Taoism were integrated, and Li Yong changed to the right army, which was unique. Zhang Xu and Huai Su pushed the expression of cursive script to the extreme with their drunkenness. Sun's cursive script is good at being elegant, while He's and others' cursive scripts also strive to create a new realm of truth and generosity. When Yan Zhenqing came out, he incorporated the ancient law into the new concept and gave birth to the new law.
Beyond the ancient meaning. 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. When the two kings acceded to the throne, the flanks took a stance and made great efforts. Therefore, when leaving chaos, it is Rao Chengping's image and the light of Tang books. During the Five Dynasties, crazy Zen flourished, which also influenced the calligraphy circle. Although' crazy Zen calligraphy' did not show a large scale in the Five Dynasties, it did have 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 Yu Shinan and Chu in the early Tang Dynasty.
Sui Liang and others. Yan Zhenqing and Liu Gongquan were both great calligraphers in the middle Tang Dynasty. Wang Wenbing's seal script, Li E's regular script and Yang Ningshi's "Two Kings Yan Liu" appeared in the late Tang Dynasty.
Wu Dai Shu fa
(1) Sui Dynasty 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 the art of calligraphy gradually emerged from the legacy of the Six Dynasties with a new attitude. In the early Tang Dynasty, regular script was the mainstream, and its overall feature was strict and orderly structure.
(2) In the middle of the Tang Dynasty.
Calligraphy in the prosperous Tang Dynasty, like the social form at that time, pursued a romantic way of getting carried away. For example, Zhang Dian Drunkenness (Zhang Xu, Huai Su) and 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 existed 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 late Tang Dynasty, due to the influence of war and fire,
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 honest and rigorous style of calligraphy in the Tang Dynasty has been reported.
After the break, the "four schools" in the Northern Song Dynasty came one after another, setting off a new wave of the times.
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Song dynasty
In Song Dynasty, the emphasis on meaning in calligraphy was the result of Zhu Da's advocacy of Neo-Confucianism. The connotation of meaning includes four points: one is philosophical, the other is bookish,
Triple stylization, quadruple artistic expression, and mediate individuality and originality in calligraphy creation. These are all reflected in calligraphy,
If respecting the law in the Sui, Tang and Five Dynasties is the embodiment of seeking' writing', then calligraphy in the Song Dynasty began to express feelings in new ways.
Eyes appear in front of the world. In other words, calligraphers should not only have two levels of "nature" and "hard work", but also have "learning", that is, "bookish", so that northern Song Sijia can change the face of Tang Kai. Direct promotion and calligraphy heritage.
Ignorance is Cai Xiang's talent and originality.
Both Su Dongpo, Huang Tingjian who looked up to the ancients, and Mi Fei who looked up to the adventures of Xiao San, tried to show their own calligraphy style, and at the same time highlighted an unconventional posture, which made the spirit of learning and nurturing depressed and sandy between pen and ink, giving people a new aesthetic mood, which was in the south.
Lu Jiyou in Song and Wu Dynasties. Fan Chengda, Zhu, Wen Tianxiang and other calligraphers have been further extended, but the knowledge and pen use of calligraphers in the Southern Song Dynasty
Ink and wash skills can't be compared with those in northern Song Sijia. Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai.
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the 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 China culture culturally, which was different from the pursuit of artistic conception in the Song Dynasty.
Su Shi flaunted' I can't do this book with my heart' in pursuit of the open beauty of deliberately seeking work, Zhao Meng? #92; Advocate "it is not easy to use a pen through the ages." The former pursues the meaning of speed, and then emphasizes the meaning of intention.
The central figure in Yuan Dynasty was Zhao Mengfu, who created the regular script "Zhao Ti" and the European style of regular script in Tang Dynasty.
Liu style, also known as four styles, became the main style of calligraphy in later generations. #92; His calligraphy thought has never surpassed the two kings, so his calligraphy is correct.
Wang has a unique understanding of the essence of calligraphy, which is characterized by "gentle" and "elegant and elegant" style, which is also related to his belief in Buddhism. Aesthetics tends to be elegant and detached, which is related to getting a spiritual liberation. In the Yuan Dynasty, there were also masterpieces.
Although Xian Yushu and Deng are not as successful? #92; But it also has its 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 in the Yuan Dynasty, the characteristic of the calligraphy in the Yuan Dynasty is "respecting the ancient and sticking to the post", and its great achievement is still in cursive script. As for the official seal,
Although there are several famous artists, none of them are very good. This kind of calligraphy with lines and cursive script as the mainstream didn't change until the Qing Dynasty. have
The calligraphy style in Yuan Dynasty still flourished in Song Xisheng's calligraphy study and lived in Tang Zongjin. Although they have their own merits, they can't stand in the calligraphy world in the same way. Compared with literature, painting and other art categories, it is far from success.
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the 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 and many images", and "Taige style" prevailed. Brother Shen helped push the stable lower case to the extreme. "All gold-plated jade books should be used by the imperial court, hidden in the secret room, and awarded as national books, and must be ordered." Er Shen's calligraphy is regarded as a model of imperial examination. Ming Chu calligraphy
There are Liu Ji who is good at cursive script, Song Liao who is good at small letters, Song Lian who is good at seal script, and Zhu Ke, a world-renowned Cao Zhang master. 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. Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong followed Zhao Meng to the Jin and Tang Dynasties and took the Supreme Law. Writing style 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-Late Ming Dynasty
There was a critical trend of thought in calligraphy in the late Ming Dynasty, which pursued large-scale and shocking visual effects, borrowed the momentum from the side, spread it horizontally and vertically, and covered the paper with smoke, which made 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.
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Ching Dynasty
The mainstream of aesthetics is based on lyricism and pursuit of individuality, and orthodox classical aesthetics and new aesthetics of seeking differences coexist. The overall tendency of calligraphy in Qing Dynasty is to emphasize quality, which is divided into two development periods: paste learning and stele learning.
The wild pen and ink in the late Ming Dynasty is wild. Cynicism was further extended in the early Qing Dynasty. For example, the works of Zhu Fushan and others still show my inner life and an elusive emotional expression. This point reappeared in the middle of the "Yangzhou Eight Eccentrics".
At the same time, the post-school system in the late Ming Dynasty was further developed, and Jiang
Britain's Zhang Zhao, Liu Yong, Weng Fanggang, Liang and others tried to show a new look, or write in light ink, or change the structure of rules and regulations. But because
The inheritance of posts in the senior year has not been well cleaned up, understood and adjusted, and some accumulated disadvantages have deepened day by day, making the decline of posts inevitable.
At this time, more and more stones were unearthed, and the literati turned from their keen interest in letters to the textual research of stones. For a time, both inside and outside the government began to learn stone tablets.
Finally, together with Ruan Yuan and Bao, it became the democratic stream in the book circle of Qing Dynasty. Kang Youwei vigorously promoted the study of steles as a kind of
Calligraphy system competing with calligraphy. At that time, famous calligraphers were Jin Nong, Deng, He, Zhao, Wu Changshuo, Kang Youwei and so on. One after another, they used the tablet to write and draw, and each did his best.