In the process of studying the development history of Bofeishu, the author found that there were 57 people from Han Dynasty to Qing Dynasty, who were famous for Bofeishu. Among them, there are 2 people in Han Dynasty, 3 people in Three Kingdoms, 9 people in Jin Dynasty, 8 people in Northern and Southern Dynasties, 0/person in Sui Dynasty, 0/4 person in Tang Dynasty, 0/2 person in Northern Song Dynasty, 0/person in Ming Dynasty and 7 people in Qing Dynasty.
They are-Cai Yong, the "father of flying white" in the later Han Dynasty, 1, and made a "flying white" Zhang Zhi, 2; Cao Pi, the Wei Wendi who played in the palace during the Three Kingdoms. 3. Wu Guo, who is particularly good at flying white, and 5, who is good at all books, especially the title department; Wei Heng and his father, Wei Guan, in the Western Jin Dynasty "opened their official bodies and revealed their whiteness"; Wang Xizhi 07, 08, 09, Wei Shuo (Mrs. Wei) 10. Southern Dynasty painters ○ 14, Ji Monk Meng ○ 15, Liu Hui ○ 16, Xiao Ziyun ○ 17, and. Emperor Yangdi, a book of flying white; Emperor Taizong in 0023, Tang Gaozong in 0024, Emperor Zhongzong in 025, and Wu Zetian in 26, who wrote the immortal monument of Prince Fei Bai, a part of which spread to Tang Huangwen in 27, and the flying white chaos. Ou Yangxun ○30, ○3 1, Heshi and his son ○32, ○33 and ○34. In the five dynasties, no one left a name in the world because of flying white; In the Northern Song Dynasty, there were ○36, ○37, ○38, Renzong Cao ○39 and ○40. Li 43, Cai Xiang 44, painters Wen, Ke 45, Huang 46 and Fei Baimiao are wonderful. The Southern Song Dynasty is like a blank sheet of paper, which no one can mention in the Yuan Dynasty. There was only one Yu Chongmo who was good at flying white in the Ming Dynasty. There were○○○○○○○○○○○○○○○○○○○○○○○○○○○○○9 In addition, contemporary Qigong and Fuxinshe are all flying white, and Kawakami in Japan is also flying white. However, the Bofei religion in China was introduced to Japan by the monk Konghai at the latest in the Tang Dynasty (Figure 9).
From the above-mentioned calligraphers in Bai Fei, we can easily see that from the Han Dynasty to the Song Dynasty, the number of calligraphers in Bai Fei was basically in direct proportion to the rise and fall of their dynasties and the development of calligraphy. Especially in the Jin, Southern and Northern Dynasties and the Tang and Song Dynasties, the number of people was the largest, and there was a gratifying situation in which royal ministers from all walks of life competed for the limelight and loved the "flying white book". However, from the Southern Song Dynasty, which was poor and weak, to the Yuan Dynasty and the Ming Dynasty, where Mongolia occupied the Central Plains for 276 years, there was only one person, and only a few flying white calligraphers were in charge of Manchu in the Qing Dynasty. Why? In this regard, we might as well look for some answers from sociology, psychology, aesthetics and history.
(A) The reasons for the prosperity of The Book of Bofei
1, especially interested and fresh.
From a psychological point of view, people always have a strong curiosity. When a new thing appears, it will inevitably attract people's attention, and then make people have a strong interest in it. Fei Bai Shu has the characteristics of white silk, clear brushwork and obvious turnover, and has a strong personality different from ancient and modern times. Its unique interest makes it fresh and naturally makes people appreciate it, and then they are willing to compete in the game and create happily. This is an obvious psychological factor, one of the internal factors, and the subjective reason for the long-term rumor of Feibaishu.
2, the emperor's hobby, the emperor of the feudal era, in the eyes of people is the king of a country, the respect of all things. Therefore, its likes and dislikes can not only affect the development direction of history, but also affect the direction of literature. According to the Book of the New Tang Dynasty, Emperor Taizong wrote a palace poem that was not very clever, and wanted to ask Yu Shinan to make peace with him, but he was rejected. Yu Shinan, who was honest and knowledgeable at that time, said: "The saints are sincere and indecent. I am afraid that this poem will spread all over the world and I dare not be summoned. " The reason is that "what is good above will be bad below". It is this objective influence, and driven by people's utilitarian consciousness of seeking rewards and pleasing their superiors, that people will vote for the emperor's liking, so that one day they will prosper. The Book of Bofei began in the Han Dynasty. During the Three Kingdoms period, Emperor Cao Pi of Wei Wendi occasionally got his hands on it, and Emperor Yang Di was also good at it. Later, Emperor Taizong, Tang Gaozong, Tang Zhongzong, Wuhou and jinyang princess all fell in love with Bai Fei. In the Song Dynasty, Emperor Taizong, Injong and Empress Injong all came. Therefore, it is normal for the "flying white paper" to have an unprecedented development during this period.
3, the literati chanted, widely circulated.
The power of example is self-evident, and the celebrity effect should not be underestimated from the beginning. When studying The Book of Bofei, the author found that The Book of Bofei was not only popular in the court and book circles, but also had an impact on the literary and art circles at that time. In addition, many famous literary masters write poems and give them high praise. For example, Liu Shao in the Western Jin Dynasty wrote "Fei Bai Shi" 057, Bao Zhao in the Southern Dynasties wrote "Fei Bai Shu Shi" 058, a monk in the Southern Qi Dynasty wrote "Fei Bai Fu" 059, Zhang Hong wrote "Fei Bai Shi" 060 in the Three Kingdoms Period, and Zhang Huaiguan in the Tang Dynasty attached a poem "Fei Bai Zan" to "Shu Duan". The above authors are all cultural celebrities at that time, and their influence is bound to be extensive and far-reaching. In this way, their chanting strengthened the propaganda of "Bofei Book" to a certain extent, thus objectively spreading "Bofei Book".
4. It is a common practice for calligraphers to copy.
Because of curiosity, the up-and-down effect and the accelerated catalysis of literati chanting, calligraphers' aesthetic tastes converged, and the internal role of the comparison mentality led calligraphers at that time to follow suit and became a common practice. As long as you pay attention to the history of Bai Fei, you can prove this from the example of Bai Fei calligraphers. Therefore, we can say with certainty that this convergence of aesthetic concepts and mutual imitation further developed Bofei's book.
Due to the positive effects of the above factors, The Book of Bofei has been brilliant for nearly two thousand years. However, we found that The Book of Bofei was handed down from generation to generation before the Northern Song Dynasty, and it was popular all over the world, but nobody paid attention to it in the Southern Song Dynasty. There was only one hobby in the Yuan and Ming Dynasties. Of the seven people in the Qing Dynasty, except for two who cared about and studied The Book of Bofei, the actions of the other five people were not as good as before. Their status and artistic attainments really dare not compare with their predecessors. This shows that "Bofeishu" actually began to decline from the Southern Song Dynasty, and eventually it was gradually dissolved. Therefore, it is necessary for us to find out the reasons for his decline.
(B) The reasons for the decline of Bai Fei Shu.
1, with strong craftsmanship and low aesthetic value.
No matter whether the story of Cai Yong's creation of The Book of Bofei is true or not, anyone with a little experience in calligraphy creation will know that, first of all, the pen, one of his creative tools, must undergo special treatment if it wants to be "white" and "parallel". Moreover, now, from "The Monument to the Rising Immortal Prince" and the flying white works of Zhang Yanchang and others, we will find that their brushes must have been processed. Recently, Mr Qian Jinfan confirmed this in a calligraphy guide with pictures. Calligraphy is the product of "only soft brushwork", but the aesthetic value of this kind of thing with too heavy artificial traces is bound to be low. In a word, the book is just a special product of a special tool, which mainly shows the interest of brushwork and does not create a better new realm than before. From this point of view, perhaps the craft of "flying white book" is a joke accompanied by the birth of legend, that is, it comes from the craftsmanship of craftsmen, and finally slowly declines due to the craft.
2. Low artistic taste.
In this regard, we can see its actual position in the eyes of critics through its superficial excitement. Zhang Huaiguan listed 25 outstanding people in Shu, and Bai Fei only took the third place. There are 98 wonderful products, but only 5 are for nothing; There are 107 capable people, but only one Bofei has 65. This figure shows that the taste of "flying white books" before the Tang Dynasty was actually very low. Similarly, the Draft of the History of the Qing Dynasty (503 volumes) contains: "The ministers of the Qing court described five kinds of literati" (that is, there were nine grades, * * * 97 people, and there were six people, which was actually 9 1 person. But among them, no one can fly into the product "66" freely. On the one hand, this shows that the A Qing dynasty existed and declined. On the other hand, it shows that the "flying white paper" of seven people can not be classified as an objective reality. In this regard, we can also see the true taste of "Fei Bai Shu" from Su Dongpo's sentence "Cute but unlearned". What's more, people like Wei Wendi Cao Pi and the Tang and Song emperors are just "playing in the palace".
3. Novelty and singleness, lack of depth
Although the fresh style of Bofeishu will fascinate people for some time, its monotonous and technical creation will inevitably inhibit people's strong interest in it. In other words, the lack of depth, artistic means and artistic level of The Book of Bofei directly or indirectly led to its own decline, which is a conclusion drawn from the aesthetic point of view.
4. The change of aesthetic concept and the revival of humanistic spirit in Song Dynasty.
The Song Dynasty, which is famous for its melancholy and gentleness, is probably the most developed period in the ancient history of China. From the emperor himself, the bureaucratic office, down to officials at all levels and landlords and gentry, a much larger and more educated class was formed, called "scholar-officials". With the change and development of the times, the aesthetic taste of scholar-officials has also changed: from "the realm without me" to "the realm with me". On the one hand, they continue to indulge in lewdness and prosperity, and at the same time, they are more and more addicted to another beautiful world, which is a world of natural scenery and flowers, birds, insects and fish. This concept eventually led to the rise of "literati painting" in the Song Dynasty. They pay attention to "the truth of details" and "the pursuit of poetry" They pay equal attention to form and spirit, emphasizing the expression of subjective interest, as Zhenwu of Ming Dynasty said: "The works of ink opera, except for the rich words of the Gestapo, are suitable for temporary interest" (iron net coral). At this time, the literary interest of literati painting is extremely prominent, and they attach great importance to the beauty of pen and ink effect itself, pay attention to the blending and integration of information, and skillfully integrate poetry, books, paintings and seals. Similar to the painting in the Song Dynasty, the aesthetic taste of painting also directly affected the book circle in the Song Dynasty. At that time, calligraphy was also divided into two parts-one part went to the grand and solemn bureaucratic situation, and the other part went to the elegant and elegant literati mood. Especially since the late Northern Song Dynasty, his style of "respecting meaning" has reached its peak. Accordingly, there are few fans and experimenters of Bofei's book.
It is an indisputable fact that scholar-officials dominated the book world in Song Dynasty. The popularity of the book style of "respecting meaning" undoubtedly completed the emphasis on the object (statute) turning to the subject (ontology). With the emphasis on humanistic spirit, art has defeated non-art, and naturally, as a "flying white book" suspected of juggling, it will definitely be old and yellow, and no one cares. This is the fundamental reason why no one has appeared in Bai Fei's books since the Northern Song Dynasty. In this way, in the history after Yuan, Ming and Qing Dynasties, literati's aesthetic taste dominated, and The Book of Bofei finally recovered.
Second, the final trend of the "flying white paper"
The rise and fall of Bai Fei's calligraphy has made an indispensable contribution to the enrichment of China's calligraphy history. Its final decline tells us from the opposite side how to create a book style and let it be passed down forever. However, the exploration process of "Bai Fei Shu" objectively played an important role in the development of China's painting and calligraphy techniques. So, where did the declining "flying white paper" go?
According to the law of immortality of matter, nothing will die, but it will become something else through constant digestion and transformation. The "flying white paper" was finally left out in the cold, leaving some clues that are still faintly discernible. Like many ethnic minorities who have been assimilated and dissolved in order to survive, "Bai Fei Shu" finally embarked on three roads with different personalities.
1 has become a special brushwork of calligraphy, which is widely used in various calligraphy styles, gradually enriching the brushwork of calligraphy and brewing artistic conception such as "spring rain moistens things, autumn wind dries up". In this regard, Jiang Kui in the Song Dynasty said in "A General Introduction to the Continuation of Books" that "the method of true cursive script originated from insect printing, eight points, flying white and Cao Zhang", and further affirmed that "the change to the back comes from flying white" .069. Due to the lightness and fineness of Bai Mo's colors, the sense of rhythm and rhythm in calligraphy is objectively enhanced, especially in cursive scripts (Figure 1 1).
2. It has become a special technique of Chinese painting.
The earliest record of Bofei's use in painting may be the record of Gu Kaizhi's portrait of Yin Zhong Kan in Liu Yiqing's Shi Shuo Xin Yu Qiao Pian. The original text is "Gu Changkang is good at writing characters and wants to draw a portrait of Yin Jingzhou. Yin said,' I am evil and don't disturb my ears'. Gu Yue said,' The Ming government is just an eye, but its pupil is bright and white, making it look like a light cloud'. This shows that as far back as the Jin Dynasty, Feibai was not just a special book, but turned to painting as a special technique. Later, Zhao Mengfu at the end of the Song Dynasty and the beginning of the Yuan Dynasty also wrote the poem 9675438+0, "Stone flies as white as a pen, and bamboo writing should also have eight skills". Moreover, in the continuous improvement of rubbings in the Song Dynasty, it is easier for us to see the signs of flying white. For example, Su Shi's "The Picture of Dead Trees and Bamboo Stones" is an example, especially in the literati paintings originated in the Song, Yuan, Ming and Qing Dynasties, and the techniques of flying white can be described as everywhere (Figure 12).
It has become a folk craft.
If the above two ways of flying white are dispelled and weakened, they will still maintain a certain taste. Then, its third way is to break away from the people and move towards vulgarity. Although the taste of Flying White Paper is not high, its juggling and craftsmanship will make the broad masses of people love it very much. When court officials scoffed at this, she was as popular among the people as the concubine who was expelled from the palace, although she had fallen out of favor with the court. Nowadays, in temple fairs or some folk villages, we can still see folk art called "bird and insect books" or "flower and bird figures". They are direct descendants of the famous birthmark "Bofeishu" (Figures 13 and 14).
Whether it is the flying white brushwork of calligraphy, the flying white technique of painting, or the folk calligraphy and painting with flying white breath, it strongly shows that the "flying white book" has not died out, but has been replaced by something else and remains in the history of China art.
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The research on the rise and fall of "Bofeishu" and its trend fills some gaps in the case study of calligraphy style, which enables us to understand the relevant historical and aesthetic issues, the reasons for its rise and fall, the aesthetic value and historical position of "Bofeishu", and the final trend of "Bofeishu", which is conducive to the creation and reference of modern calligraphy. Limited by the space, it is impossible to fully develop the historical facts of the development of The Book of Bofei, and it is also impossible to talk about personal different views on the creation of The Book of Bofei, so we can only discuss it in another article another day.