1. Overview:
The five main calligraphy styles of Chinese calligraphy are seal script (including large seal script and small seal script), official script script (including ancient official script and modern official script), and regular script script (including ancient official script and modern official script). Including Wei stele, block script), running script (including running script, running script), cursive script (including Zhangcao, Xiaocao, Dacao and standard cursive script).
2. History:
Chinese calligraphy has a long history, the style of calligraphy has evolved, and the art of calligraphy is fascinating. From oracle bone inscriptions and bronze inscriptions to large seal script, small seal script, and official script, to Yan script, cursive script, regular script, and running script in the Eastern Han, Wei, and Jin Dynasties, calligraphy has always exuded unique artistic charm.
From hieroglyphics to oracle bone inscriptions, the Shang and Zhou Dynasties, the Spring and Autumn Period, and the Han Dynasty's bamboo and silk ink and red ink handwriting, Tang Kai's legal code, the Song Dynasty's Shangyi, the Yuan and Ming Dynasty's Shangtai, and the disputes over stele and inscriptions in the Qing Dynasty.
3. Calligraphy style:
1. Seal script
Seal script is divided into two categories: large seal script and small seal script. Big seal script mainly refers to oracle bone inscriptions, bell and tripod inscriptions and ancient characters from the Six Kingdoms in the Shang and Zhou dynasties. Xiaozhuan refers specifically to the legal writing issued after the Qin Dynasty unified China, and was popular in the Qin and Han Dynasties. Chinese writing, which has a long history, has sprouted as early as ancient times. Symbolic writing appeared in 5000 BC. Although its writing function has not been freed from the simple function of picture recording, its origin relationship with later Chinese writing has been compared. obvious.
Oracle bone inscriptions, also known as "deeds" or "divination inscriptions", refer to the inscriptions engraved on tortoise shells and animal bones during the Yin and Shang Dynasties for divination and recording events. This type of writing is the oldest and relatively mature type of writing with evidence in the history of Chinese calligraphy.
Zhong Dingwen. Zhongding inscriptions, also known as "Zhongding inscriptions", "bronze inscriptions" or "bronze inscriptions", are inscriptions cast and engraved on bronzes such as bells, tripods, plates, and Gui during the Shang and Zhou dynasties. The concave characters represent style and the convex characters represent recognition, which is a three-dimensional form of text expression.
Oracle bones and bells and tripods are relics of both the Shang and Zhou dynasties. However, in terms of calligraphy characteristics, later generations mostly regard oracle bones as the representative of the Yin and Shang characters, and bell and tripod inscriptions as the representative of the Zhou Dynasty characters.
The evolution from oracle bone inscriptions to seal script was the first major reform of writing. With the system, it was more unified and easier to use. Big Seal Script is Zhouwen, which is basically similar in shape to Oracle Bone Inscriptions. It includes Stone Drum Inscriptions and so on. Shigu is something from the Qin Dynasty. Guo Moruo's "Research on Stone Drum Inscriptions" has discussed it in detail. It mainly refers to the calligraphy style before oracle bone inscriptions and bell and tripod inscriptions were changed into Xiaozhuan. Shigu inscriptions are the oldest known stone carvings in our country.
The Small Seal Script is the Qin Seal Script, which was the official script promulgated to the whole country after Qin Shihuang unified the six kingdoms (221 BC). At that time, Prime Minister Li Si petitioned for a unified writing system. On the one hand, he abolished the ancient Chinese scripts used by the Six Kingdoms and the regional complex characters. On the other hand, he used the Qin Dynasty's common Chinese script (which is said to have been written by Taishi Zhou, King Xuan of Zhou Dynasty, and belongs to the large seal script) as the basis. Simplified and reformed, it became Xiaozhuan. For the sake of distinction, the ancients called Zhou Seal Script the Big Seal Script and Qin Seal Script the Small Seal Script. Since the large and small seal characters are inherited and connected, some characters are similar and identical, and the simplification is relative and overall. Due to the feudal empire established by Qin Shihuang, Xiao Zhuan was made the universal writing system, and because Xu Shen of the Eastern Han Dynasty collected all Xiao Zhuan and compiled "Shuowen Jie Zi", which has been passed down to this day, Xiao Zhuan has become an important part of ancient Chinese research, understanding, and dissemination culture. important intermediary tool. Xiaozhuan has made great contributions to the popularization and development of Chinese culture. Cultural relics handed down from the small seal script of the Qin Dynasty include "Taishan Carved Stone", "Langyatai Carved Stone", "Jieshi Mountain Carved Stone" and the characters engraved on imperial edicts and Qin Dynasty. It is said that they are all written by Li Si and are also standard examples of seal calligraphy. Xiaozhuan font is extremely standardized, with unified radicals. The strokes are euphemistic and tortuous, even in thickness, round in style, white and symmetrical in intervals. The font is narrow and long, with a tight upper part and a cheerful and stretched lower part, giving people a strong and soft feeling, bright and handsome. The oracle bones are noble and strong, the inscriptions on gold are noble and solemn, the small seal script is soft and gentle, and the regular script is called Qiu Jian. The use of small seal script "seems ordinary and the most extraordinary, but it is easy but difficult to achieve" (Wang Anshi said). The pen used in seal script also pays attention to various methods of turning, stopping, pausing, pressing, lifting, lifting and holding. The transitions and pauses focus on inner content rather than exposure, and the rhythm of pressing, lifting, lifting, and holding is important in leaving no trace.
Official script was popular in the Han Dynasty, and seal script was less common. Most of them were inscriptions on tablets and foreheads. During the Three Kingdoms period, Cao Wei preserved a kind of "Three-Body Stone Scripture", in which Wu had some achievements in writing seal scripts. After that, real script (regular script) emerged, and all calligraphy schools tended to follow regular script. In the Tang Dynasty, only Li Yangbing was very skilled in seal writing. In the Song and Yuan Dynasties, more and more people wrote seal scripts, and there were also many seal scripts on stone carving, seal management, and prose writing.
The famous calligrapher Zhao Mengfu has seal scripts inscribed on tablets handed down to the world. Li Dongyang of the Ming Dynasty and Deng Shiru of the Qing Dynasty were famous figures at that time. With their majestic pen and ink and magnificent elegance, they learned from the Han Dynasty inscriptions and made innovations, changing the rigid, thin and round jade ribs that had been used since the Tang Dynasty. At the end of the Qing Dynasty, Wu Xizai, Wu Dacheng, Yang Yisun, Fan Yongqi, Ding Foyan, Zhang Binglin and others all had many seal script tablets and writings. In addition, for the search of Xiaozhuan, you can refer to the "Kangxi Dictionary", "Duan Notes Shuowen", "Wen Mengqiu" and seal script dictionaries published in recent years. In the Spring and Autumn Period, people used Teng Tiao (no brushes at that time) to write seal script by smashing one end and dipping it in lacquer, so there was no obvious stroke edge when writing, and the strokes were all the same thickness.
2. Official script
After Xiaozhuan became popular all over the world, it gradually showed its shortcomings in writing. Because the strokes of seal script are complicated and difficult to write, it is said that the warden Cheng Miao at that time was imprisoned for crimes. He simplified the strokes and structure of large and small seal scripts and changed the round strokes of seal script to square folds. It is easier to write and can be faster.
Official script was used from the Qin Dynasty through the Western Han Dynasty to the Three Kingdoms, before the creation of regular script became mature and popular. But its shape changes and beautifies from time to time. The official script of the Western Han Dynasty still maintained the legacy of the Qin Dynasty. By the Eastern Han Dynasty, especially at the end of the period, it became more neat and delicate. The structure is flat, and there is a wave (捺 in Chinese characters) inside the strokes, forming the basic form of Han Li. From the Jin and Tang Dynasties to modern times, although various calligraphy styles, especially regular script, were popular, official script was still widely circulated. This is because the structure of official script in the Han Dynasty was rich in changes, styles were diverse, and artistry was strong. It has always won people's favor.
Han Li is a unique achievement of the calligraphy art of the Han Dynasty. The fat and thin size of the fonts, the structure and the brushstrokes are endlessly varied, each with its own unique charm. Han Li occupies a very important position in the development of calligraphy. It inherits the rules of seal script from the previous dynasties and inspires the style of regular script from the Wei, Jin, Southern and Northern Dynasties and the Sui and Tang Dynasties. There are many stone carvings left from the Han Dynasty, which are precious heritage of our country's calligraphy art. . In addition, many steles and tablets (small tablets) from the Han Dynasty have been unearthed so far, most of which contain words of praise. Judging from the size of the characters, the largest is Zhejiang Tiaoshan Moya, with characters larger than a foot; the smallest is "Yang Sanzhi", with inscriptions three or four inches square. In addition, the ink marks on the remaining stones and bamboo slips of the Han Dynasty also very realistically express the brushwork and style characteristics of Han Li.
Chinese calligraphy has developed into official script and entered a stage of innovation. Compared with the stereotyped official script, the shape of small seal script has changed from long and narrow to flat and square, the strokes have changed from well-proportioned arc strokes to straight strokes with a combination of thick and thin strokes and steep postures, and the twists and turns have changed from continuous circles to square corners with broken strokes. The pictogram of the characters The meaning is mostly lost. The formation of official script laid the foundation for future cursive, regular and running script, and opened up a broad road for the popularization of Chinese characters and the development of calligraphy.
Usually, people call the early official script "Qin Li" or "Gu Li", indicating that it still retains the meaning of seal script. The bamboo slips from the Qin Tomb in Shuihudi, Hubei Province are the representative works of "ancient officials".
3. Cursive script
Cursive script includes Zhangcao and Jincao, both of which have their own influence on each other and their own schools.
The early cursive script evolved from official script and was called "Zhangcao". It is generally considered to be a simpler style of writing than official script, which is used to write chapter memorials or regulations. Zhang Cao changed the official writing method of horizontal and vertical lines with discontinuous strokes, and turned it into a font that is circular and involved, with alternating thickness and thickness, and a constrained form. There is still a wave on the right side of the word, which is a characteristic that it retains the official meaning and is different from that of Jincao.
According to legend, Zhangcao was created by Shi You, Huangmenling, during the reign of Emperor Yuan of the Han Dynasty. His "Jijiuzhang" (excerpts from the book memorial, etc.) that has been handed down to this day is called "Zhangcao" by later generations. "Zhangcao" (predecessors talked about "grass", which also means grass creation). Another theory is that Emperor Zhang of the Later Han Dynasty liked Du Du's cursive script and asked him to write this chapter in cursive script, so it was called "Zhang Cao".
Xu Shen's "Shuowen Preface" contains the explanation that "cursive script existed in the rise of Han Dynasty". Wei Heng's "Four Body Scripts" also said: "There was cursive script in the Han Dynasty, but I don't know the author's surname." The above-mentioned opinions from various schools explain the relationship between Zhangcao and official script and the age of its creation from different angles.
As for the origin of the name "Zhangcao", it can also be considered that "Jincao" came into existence later. For the sake of distinction, the former form of "special" cursive script was called "Zhangcao". This is like the ancients calling regular script "Jinli" and the official script of the Qin and Han Dynasties "guli"; with Li Si's small seal script, they called the seal script "big seal script". Therefore, the name "Zhangcao" comes from "Zhangcao" "Jijiuzhang" leads to this, which is relatively easy to explain.
Any kind of calligraphy must go through natural changes and losses, which is an inevitable phenomenon in the development of fonts.
It was spread among the people, perfected, and finally fixed. So from a certain point of view, it cannot be created by a certain person. At most, it is just a systematic arrangement by someone. It can only be called someone's "masterpiece".
The use of Zhangcao is to dissolve the official script and make it simpler. As for the pen, some writing methods of official script are still inherited. Especially at the end of the "捺" painting, it is very obvious. However, other strokes are basically the prototype of later cursive script. Many characters have lingering (serial) strokes, which created the continuous strokes of cursive script. It also created conditions for the transition from official script to regular script, and served as a bridge and medium.
Zhang Zhi's Zhang Cao of the Later Han Dynasty is the most famous, and modern Cao also evolved from him. Because he is skilled in calligraphy, he can write very quickly. Zhang Huai's 26th "Shujuan" said: "In the book of Zhangcao, each word is different. Zhangzhi became the current grass and increased its flow speed. Pulling out the buds and connecting them up and down, the formation borrowed the words above and ended with the words below. Beginning..." clarifies the difference and relationship between Jincao and Zhangcao.
The writing style of official script in Zhangcao is like horizontal strokes with upward strokes, left and right waves (left) and strokes (pins) distinct, while round pens and some lingering bands are not found in official scripts but are common in today's cursive scripts. That is the luck method of "qi has a radius and a circle, and the law also makes it turn". In short, when writing chapter cursive, it should be as simple as official script horizontally and vertically, and the lingering strokes should be like cursive cursive. This is the most basic writing method of Zhang Cao. "Sushupu" says: "In general, cursive scripts are based on the methods of Zhang Zhi, Huang Xiang, Suo Jing, etc., while the chapter cursive script is composed of straight and straight, and the writing is original." It points out that the writing style should be straight and straight when writing, and do not use biased tactics like today's cursive script. , seeking balance in flight, the brushwork has the origin of official script, and has a simple and rich artistic conception.
According to legend, the origin of Jincao was Zhang Zhi of the Han Dynasty who modified Zhangcao. The calligraphers at that time highly praised Zhang Zhi and called him the "Sage of Grass".
Because Jincao evolved from Zhangcao, and Zhangcao is the "source" of Jincao, the predecessors advocated that to learn Jincao, one must first learn Zhangcao, learn the method of grass, and master the rules. Now it seems that learning cursive script does not necessarily require you to learn Zhang Cao in order to master the rules of cursive script. Han Daoheng, a native of the Ming Dynasty, compiled "Caojue Baiyunge" to provide convenience. He wrote the main radicals, their usage and the differences between them in a jingle of five characters and one sentence, very clearly explaining certain rules in the structure and writing of cursive characters, and also had block letters for comparison, making it easier to remember. , such as "氵" and "讠", the difference between these two radicals is "a little bit means water, an empty pick means words". Another example is the structural characteristics of Chinese characters. An example of "shy" is "shy to see a sheep treading a field", that is, the word "shy" is composed of the upper "sheep" and the lower "field". Although this post cannot be all-inclusive, it is interesting. It’s perfectly fine to get started.
Since seeing Jincao, from the Han Dynasty to the Tang Dynasty, it has been said that it originated from Zhang Zhi, but each has its own characteristics and factions due to differences in style. From a physical point of view, the predecessors generally regarded it as Divided into three different styles.
First of all, there is the Dacao and Kuangcao schools represented by Zhang Zhi, Zhang Xu and Huaisu: they are characterized by continuous momentum and unrestrained brushwork. The ancients called Zhang Zhi's cursive script "one-stroke script", which means it is written continuously like one stroke. His cursive writing is not continuous throughout, but from the lingering relationship between the sharp strokes, we can see the relationship of concern and response, and the consistent spirit.
Zhang Xu studied Zhang Zhi. There are two kinds of Zhang Xu's paintings in "Ge Tie". The brushwork and structure are similar to Zhang Zhi's. Zhang Xu was a native of Wu in the Tang Dynasty. He was good at cursive calligraphy and was addicted to alcohol. Every time he got drunk, he would run wildly and start writing, or he would dip his hair in ink and write. , also known as "Grass Saint". During the reign of Emperor Wenzong of the Tang Dynasty, the world regarded Li Bai's poems, Fei Min's sword dance and Zhang Xu's cursive script as the "three wonders".
There is a post in "Ge Tie" by Huai Su called "Zhen Shu Guo Zhong" which is very similar in style to the two pieces, but it is not quite the same as his famous post "Self-narrative" post. The "self-narration" post is truly the masterpiece of Huai Tie. When Japanese Prime Minister Tanaka visited China in 1972, Mao Zedong received him and presented him with a hardcover copy of "Huai Su's Autographs".
Huaisu's character Zangzhen is written in Chinese characters. There are four large seal characters in front of "Zangzhen" in front of "Zangzhen". He is from Changsha, Hunan. His original surname is Qian. He has been a monk since he was a child. The year cannot be tested, probably the middle of the Tang Dynasty. "Autobiography" is one of the important works in the history of Chinese calligraphy. It is recorded in books such as "Baozhang Waiting for Interviews" and "History of Calligraphy". The characters are cursive, and the center is mostly used. The thickness of the strokes does not change much, and it is integrated with the seal script brushwork. Be innovative. It is strong and powerful yet graceful and free; in terms of strokes and character structure, large, small, oblique and straight echo each other, unrestrained and smooth, and completed in one go, fully capturing the beauty of cursive writing.
Like Li Bai's poems, his posts are a kind of classical romantic art, so rich in the beauty of national forms. They are not rigid and rigid, but passionate, cheerful, and lively. For example, the water flowing down the gorge is particularly majestic. In the Qing Dynasty, Du Yan wrote a poem after the post and called him "Crazy Monk" and "Grass Saint". It is an excellent calligraphy art heritage worthy of being learned and inherited by future generations.
The reason why Huai Su has great achievements is mainly the result of long-term hard study and practice. He received guidance from Yan Zhenqing, and went to Chang'an and Luoyang to observe some "posthumous bamboo slips". Based on learning from his predecessors, he created and developed his own creations and became self-contained. Historical records record that he once made lacquer trays and boards, practiced on them, erased and wrote on them, and even scratched them until the boards were worn through. He buried the bald pens and piled them into a mound, which was called "Bi Zhong". Later generations of calligraphers highly praised Huai Su and tried their best to imitate him.
In addition to the two Shangju Tie, there is also the "Bitter Bamboo Shoot Tie", which is scrawled with more than ten words, which fully shows its spirit. Volume 1 of the "Haiyue Inscriptions and Postscripts" written by the Song Dynasty records that "Tang Monk Huaisu narrated it by himself, and the Shen family of Hangzhou had a version." It can be seen that in the Tang and Song Dynasties, Huaisu's "Autobiographic Notes" attracted the attention of people at that time, and it can also be seen that there was a large demand for calligraphy inscriptions at that time. Mi Fu, Yuan Kangli Kui (náo), Xian Yushu and others in the Song Dynasty also liked to do wild grass.
The second is the "Wang style" cursive script of Wang Xizhi and Wang Xianzhi: they have five volumes of posts in "Ge Tie", Wang Xizhi's three volumes (6-8) include 159 posts, and there are two of them. Volume (9-10) contains 76 posts, mostly written in cursive writing. As far as cursive writing is concerned, the writing style of "Er Wang" is thinner than that of Er Zhang, and feels fresher and more beautiful. Xizhi only has "Seventeen Posts" (because the first post in the post has the word "Seventeen", so it is called "Seventeen Posts"). One is pure cursive script, which is Wang Xizhi's masterpiece and was probably collected by people in the Tang Dynasty. In addition, "aunt's post", "chuyue post", "sangluan post", etc. are also very expressive. Wang Xizhi reformed the relics of Zhangcao in cursive script at that time, changed Zhong Yao's calligraphy style which was very influential at that time, established his own style, and absorbed the folk round style to create "Wang style cursive script".
Xizhi Jincao was most popular in the Southern Dynasties and the early Tang Dynasty. Monk Zhiyong during the Chen and Sui Dynasties was a descendant of Wang Xizhi. His Jincao was the most popular among Wang Xizhi. Emperor Taizong Li Shimin of the Tang Dynasty loved Wang Xizhi's calligraphy and collected Wang Xizhi's handwritings all over the country. . Li Huailin (Yong) and Sun Guoting in the early Tang Dynasty, Xue Shaopeng in the Song Dynasty, Zhao Mengfu in the Yuan Dynasty, and Wen Zhengming in the Ming Dynasty are all representative writers of this school. The Japanese monk Kukai came to China in the Tang Dynasty and returned with Xizhi's modern calligraphy. He had a great influence on the development of Japanese calligraphy. The Japanese calligraphy circle also highly praised Wang Xizhi.
Xianzhi's cursive script became popular after the Tang Dynasty. His "Yatou Wan Tie" was highly praised by all dynasties and regarded as a rare treasure. It was developed by Zhang Xu and Huaisu and became "Kuaicao". In the Song Dynasty, Mi Yuanzhang, Yuan Kangli Kui, Xian Yushu and others also liked to write wild works. In the late Ming Dynasty, Fu Shan and Wang Duo developed even more.
The third is Zhiyong's "Thousand-Character Essay" and Sun Guoting's "Shu Pu Preface": this school's cursive method is very regular, distinguishing each word, and not using continuous style. The writing style and expressions are lively and dynamic, making it more suitable for beginners to study. Especially the "Preface to the Book of Music" is easier to learn, write and imitate.
It is also worth mentioning Mi Fu's "Nine Posts in Cursive Script", Song Ke's "Du Zimei Zhuang's Travels", "Golden Bronze Immortal Ci Han Song", and Kang Likui's "Fisherman's Dictionary" , Zhu Yunming's "Li Taibai's Song of Five Clouds" and "Red Cliff Ode", Wen Zhengming's "Preface to the Pavilion of Prince Teng", etc. In addition, the military general Yue Fei's "The Return of the Master" is also very popular.
In modern times, Lin Sanzhi is known as the "Sage of Grass". When he saw Lin San's cursive calligraphy and bowed three times during his performance, Japanese calligraphy leader Aoyama Sugiame praised Lin San's cursive calligraphy: "The legacy of the Saint of Grass" The law lies here." Lin Sanzhi's representative cursive works include "Poems on Sino-Japanese Friendship", "Xu Yao's Poetry in Huaisu Cursive Script", and "A Self-composed Poetry and Theory Book". Lin Sanzhi's cursive script is called "Lin style".
4. Running script
Running script is cursive or simplified writing based on regular calligraphy (such as regular script, official script, and seal script). It is a gap between formal writing and cursive writing. The most common style of writing. It is generally believed that running script began in the late Han Dynasty (it is said to be created by Liu Desheng from Yingchuan) and flourished in the Eastern Jin Dynasty. It has both the rules of regular script and the flow of cursive script. The fonts are neat and there are more regular scripts than cursive scripts called "Xingkai"; writing flows, Those with more cursive than regular script are called "Xingcao". It is easier to write than regular script, easier to read than cursive script, and is widely used. Zhang Huaiguan of the Tang Dynasty wrote in "Shuguan": "Xingshu is a small pseudo (variation) of regular script (regular script). The name is from simple to popular, so it is called running script.
"Wang Min said: "During the Jin Dynasty, most calligraphers used running script. The famous Zhong Yuanchang (Yao) was good at running script. "After that, there were many children of the Wang family in the Eastern Jin Dynasty who were good at running script. Among them, Wang Xizhi and his son were the most famous. "Lanting Preface" is Wang Xizhi's masterpiece, and later generations regarded him as "the best running script in the world." Li Shimin, Emperor Taizong of the Tang Dynasty, respected the Wang family. , loved the "Lanting Preface" the most. He sent Xiao Yi to obtain the original copy of the "Lanting Preface" from the monk Biancai. He ordered Feng Chengsu and Yu Shinan to copy it and give it to his relatives. After Taizong died, he was buried with the original "Lanting Preface" in regular script. Therefore, it has been circulated for a long time because its content and form are rich in the style of the times. Among them, the combination of loving nature and describing nature with the sincere, free and natural calligraphy form reflects the desire to break away from Confucianism and advocate literary and artistic self-consciousness. The spirit of the Eastern Jin Dynasty. This is the reason why "Lanting Preface" has vivid charm and became the best in the world. In Tie", such as Emperor Wu (Sima Yan), Emperor Xuan (Yi) of the Western Jin Dynasty, Emperor Yuan, Emperor Ming (Zhao), Emperor Kang (Yue), Emperor An (Pi), Jianwen (Xian), Jiaowu (Yao), etc. of the Eastern Jin Dynasty can all write There were more officials who were good at running script, such as Wang Dao and Geng Liang. Following the example, running script became fashionable, so running script formed a major system in the art of calligraphy in the Tang Dynasty. Zhang Huaiguan evaluated the calligraphy of previous dynasties in the Tang Dynasty and listed 25 "divine" calligraphers in his famous "Shujuan". Among them, four of them are Wang Xizhi, Zhong Yao, Wang Xianzhi and Zhang Zhi. Wang's running script is called "Super Zhongmai". Zhang" was praised as the "Sage of Calligraphy" by all dynasties, and his works are "Lanting Preface" as the first, which is recognized by all calligraphers in ancient and modern times. There is also Wang Xizhi's Xingkai calligraphy "Huairen's Preface to the Holy Teaching of Xi" It is also very famous and has been imitated by many people.
Pingfu Tie by Lu Ji in the Western Jin Dynasty is the oldest. At that time, running script and regular script were both popular and mature. , especially when commenting on Wang Xizhi's "Lanting Preface", he said: "There is no equal in the wonderful works of the ages and the essence of regular calligraphy in ancient and modern times. "The regular script mentioned here reflects the brushwork of running script. It can be seen that throughout ancient and modern times, both regular script and running script should be based on the famous masters of the Jin Dynasty.
Wang Xizhi was a calligraphy innovator in the Eastern Jin Dynasty and had unique characteristics in the art of calligraphy. The creation of Wang's style of calligraphy not only shocked the calligraphy community at that time, but also had an impact on later generations and the Chinese and foreign art circles. Not only was his regular script good, but his official script, running script, and Zhang Cao were all distinctive. It has been lost, and all that have been circulated in the world are copies. The one closest to the original is that of Feng Chengsu. It is said that it is double hooked and filled with ink. Regarding Wang Xizhi's brushwork, this painting still retains its original appearance. Yu Shinan and Chu Suiliang also had copies, which were often mixed with their own writing and ink, which inevitably differed from the original.
The "Lanting Preface" has a total of 327 words, both in composition and writing style. It is very beautiful. There are 20 characters for "zhi" and 7 characters for "no" in the middle. Other characters such as "gan", "huai", "chang", "hui", etc. all have Chongjian characters, but the writing methods are different. , especially "zhi" and "bu" with few strokes, there are many opportunities for word repetition, but it does not make people feel tired of repetition. Mi Fu, a great calligrapher in the Song Dynasty, lamented in a poem that "'zhi' has the most characters. There is no one like it." If you study carefully, you can learn a lot of skills in running script.
In addition, the "Manuscript of Sacrifice to My Nephew Jiming" written by Yan Zhenqing of the Tang Dynasty was once rated as the second running script in the world by Xian Yushu, a calligrapher of the Yuan Dynasty. The 234-character post is written in straight and bold strokes, just like Yan's regular script. His running script also reveals a fresh, full, strict and dense style. Moreover, in the photocopy of his original handwriting, the writing style is clear and bold. The places are clearly visible, allowing students to carefully observe the process of writing and the subtle changes in strokes at turning points. In addition, Wang Xizhi's "Sang Luan Tie" is also a famous treasure.
Since Wang Xizhi and Wang Xianzhi. Since father and son, calligraphers of later generations have paid attention to cursive script, and even used this style when writing stele tablets. Starting from the "Hot Spring Inscription" written by Emperor Taizong of the Tang Dynasty, Li Yong also mixed regular script when writing stele, such as "Yuelu Temple Stele" and "Yunhui Stele". This is the case. In the Song Dynasty, the great calligraphers Su, Huang, Mi, and Cai were all famous for their running scripts. Zhao Mengfu and Dong Qichang were great calligraphers in the Yuan, Ming and Qing Dynasties. Their works were written in regular script. Favored by the world.
From the perspective of calligraphy history, running script gradually broke away from regular script in the Jin Dynasty and became a widely used handwriting style, and it is still widely used today. " said: "When changes occur at the right time, running script is the key. "This means that running script is more practical and practical. It is simpler and easier to write than regular script, and it is easier to read and use than cursive script.
And because cursive script is between regular script and cursive script, it has great flexibility and many changes. With the help of regular script style, you can use the brushwork to achieve artistic effects, and use the indulgence of cursive script to break through the rigor of regular script. The two are organically combined to form a full of vitality. New body. Running script has the advantages of each style, which is why it is superior to other calligraphy styles.
Because the strokes of running script are connected, the added hooks and dots between the strokes are the strokes of cursive script, but the brushwork of regular script adds to the dignity of running script. For most people, learning it well Running script is very practical.
5. Regular script
Regular script refers to "real script", "formal script" or "regular script". In ancient times, it was called "Kaili" or "Jinli". It was first produced by the people in the Western Han Dynasty and was regarded as a work that could not be refined. There are many traces of official script in it. Regular script evolved from official script (including cursive script). It began in the Eastern Han Dynasty and is still in use today.
The Han and Wei dynasties were an era when regular script gradually matured, and there were still many Zhangcao (that is, cursive) writing styles. The Eastern Jin Dynasty was the heyday of regular script. The earliest existing regular scripts are only the works of Zhong Yao and others from the Three Kingdoms. . In addition, there was also the "Wu Zhigu Lang Monument" at that time. The font and strokes were similar to regular script, and there were some traces of cursive writing. It should be noted that cursive script did not come after regular script. Just like simplified characters, if the cursive script is regularized, the characters will be much simpler and easier to learn.
When talking about regular script, we must talk about Wei style. It is not only a type of regular script, but also the basis for regular script to mature. Among ancient calligraphy styles, it is as important as seal script and official script, which specifically refers to calligraphy styles such as stone carvings, cliffs, statues, and epitaphs in the Northern Wei Dynasty. Wei style basically got rid of the official style. It has a variety of physical appearance and gestures, rich brushwork, jumpy moods, and branch lines and white lines. Each has its own beauty, but all of them are square and solemn.
Tang Taizong was very fond of calligraphy and admired Wang Xizhi's (mainly cursive) calligraphy. He tried his best to collect calligraphy originals and manuscripts written by famous people and past calligraphers. It is said that the authentic copy of Wang Xizhi's famous calligraphy "Lanting Preface" It was taken to the tomb by him, but it has not been found yet. Another kind of famous calligraphy written by Wang Xizhi, the "Holy Religion Preface", was handed down to the world, and it was purchased and assembled by his descendant Huairen for one word and one gold. The attention of rulers and literati provided conditions and soil for the development of calligraphy. The number and high achievements of calligraphers in the Tang Dynasty are rare in the world. In recent years, during the investigation of Zhaoling Mausoleum of Emperor Taizong of the Tang Dynasty, many famous inscriptions were found, calling it "a gathering place of calligraphy of the Tang Dynasty".