Historical Content of Calligraphy: Calligraphy Style in Spring and Autumn Period
In ancient calligraphy, the earliest ink marks were the bamboo books and pottery pieces of Yin Shangyu and the ink marks on Oracle Bone Inscriptions, but no traces were found. Later, we will talk about Hou Shu at the end of the Spring and Autumn Period. Only Wenxian County has several figures, and Hou Shu was still in the Western Zhou Dynasty. Bamboo slips in Yangtian Lake, Xinyang Bamboo Slips, Wangshan Bamboo Slips, Chu Silk Slips, etc. These are the so-called things? Ke Wendu, the real calligraphy. Among them, Houshu and Wenxian belong to the State of Jin, while others belong to the State of Chu.
So-called? Kodou？ The original name comes from the characteristics of calligraphy stippling pen. As mentioned earlier, during the Wei and Jin Dynasties, the Han Dynasty called the words on the ancient manuscripts "What?" ? Like Kevin? It was also the ancient writers of the Zhou Dynasty who struggled with literature. Its head is thick and its tail is thin, like a bug fighting in the family. So what is its common name? . This form can be traced back to the bamboo books of Shang Dynasty. Ink rot, originally in the same strain, gradually evolved. In the stippling forms of Zhu Shu and Li Shu in the Shang Dynasty, this feature S is simple and vigorous, which I call? Single-rhythm moving pen, this form has changed a lot in calligraphy during the Spring and Autumn Period and the Warring States Period, mainly because the consistency of the pen has been enhanced, although it has not been divorced from the struggle. The forward trend of the mutual rotation of flash and flash makes the use of calligraphy faster and more rhythmic. ? Thick head and thin tail? The mentality is correspondingly more peaceful. Especially in the bamboo slips of the Warring States period, such as Wangshan bamboo slips, the brushwork has obviously changed from vertical to horizontal, and the structural changes also show that it is getting rid of the shackles of pictographs day by day, reflecting the change process of official seal regular script. The handwritten ink of these seal scripts in the Spring and Autumn Period and the Warring States Period are generally Jin style and Chu style.
Calligraphy appreciation four-character works:
Houshu (Figure 6) and Wenxian were popular cursive seal scripts in the upper class of the Jin Dynasty at that time, which marked the style of the Jin Dynasty. So-called? Alliance book? Also known as? Carrying a book. Pledge is a popular political activity in the Spring and Autumn Period, and the Pledge is a restrictive alliance document concluded by governors and Qing Dafu through the pledge ceremony. It is written with cinnabar or ink (mostly cinnabar) on a piece of jade shaped like a reed. The book of Houma League was unearthed in Houma, Shanxi, and the book of wen county League was unearthed in wen county, Henan. Although not in the same place, the time sequence is slightly different, but the calligraphy style and brushwork are very consistent. Slightly different, the former is stable and peaceful, extending vertically and more symmetrical; The latter is unruly, relatively speaking, showing the trend of horizontal opening, and the size changes of words are also very different, which shows the charm of grass seal. Their brushstrokes are sharp, stiff and elastic, but the latter is smoother, more active and more consistent than the former. However, on the whole, the posture of the two batches of Jin League books is rectangular and unfolded vertically, which is in sharp contrast with the posture that most of the Chu bamboo slips and silk books are horizontally unfolded.
Among Chu bamboo slips, Tian Yang Lake bamboo slips were unearthed from Tian Yang Lake in Changsha, Hunan, Wangshan bamboo slips from jiangling county, Hubei, and silk books were unearthed from Changsha, Hunan. The * * * feature of the three styles is that the body is open horizontally. Although it is still a seal script, it has obviously changed. From the structural point of view, the structure of the original seal script and its multi-directional strokes is simplified and simplified by straight strokes, so the strokes are mainly straight strokes, and some rudiments of official script stippling have appeared. Besides, it's common? Envy painting? In other words, some words are randomly added by stippling or radicals, and various writing methods are common. This phenomenon has been revealed in the above two batches of Jin Meng books, especially in these Chu bamboo slips and silk books. This shows that during the Spring and Autumn Period and the Warring States Period, especially during the Warring States Period, the vassal states made great efforts to develop their own economy and culture under the turbulent situation of independence and annexation. The emperors of the Zhou Dynasty lost their cohesion with other countries, and their writing and calligraphy developed in their own way. The general trend of its development is to evolve into official script, which is particularly prominent in the handwriting at that time. It should be said that the formation of official script is the result of the evolution of the characters and calligraphy of the seven countries during the Spring and Autumn Period and the Warring States Period.
These three batches of Chu bamboo slips and silk calligraphy methods have their own characteristics on the basis of the above-mentioned style. Bamboo slips in Yangtian Lake are plain and dignified, while those in Wangshan are free and easy. Silk books are clean and elegant. In addition, some of Xinyang bamboo slips and Wangshan bamboo slips are similar to Houmamengshu in style, but there are signs of official change in structure and some stippling forms. However, these works do not have the regional style characteristics of Chu calligraphy, but are in the same strain as the authentic calligraphy style inherited from Shang and Zhou Dynasties. In modern times, a large number of handwritten ink materials from the Spring and Autumn Period and the Warring States Period were unearthed one after another, which not only enabled us to see the true face of calligraphy at that time, but also broadened the ways for contemporary calligraphers to learn from the traces of ancient calligraphy in the Da Zhuan (broad sense) system, and gave us many inspirations in calligraphy brushwork, style, formal beauty and other aspects.