Zhang Huai's works
Chen Si's Book Score in the Southern Song Dynasty called it good, correct, practical and cursive. I am very proud of my calligraphy, claiming that "integrity and deeds are comparable to (Heather) and Chu (Sui Liang), and the grass wants to go it alone for a hundred years." Cherish books that are no longer circulated today. It was his book Theory that was handed down to later generations. If Zhang Yanyuan was a master of painting in the Tang Dynasty, then Zhang Huai was a master of calligraphy.
? There are also many calligraphy works in his life, such as The Story of Two Kings, Three Broken Books, A Book of Characters, A Book of Evaluation, A Book of Arguments, A Book of Six Calligraphy Methods, A Book of Comment on Books and Maifanshi, A Book of Ten Brushes, and A Book of Forbidden Classics in Yutang. Its large length, wide discussion and rich information are unparalleled in the Tang Dynasty. ?
China's writing and calligraphy, from ancient times to the present, have their own characteristics in form and charm. It shows the amazing wisdom and creativity of the Chinese nation. As far as the classification of calligraphy is concerned, in a narrow sense, people are one; Broadly speaking, we should give up small differences, adopt common ground and be as simple as possible. Zhang Huai's classification of calligraphy into ten styles is undoubtedly a great progress. His ten styles are ancient prose, big seal script, small seal script, eight-part essay, official script, Cao Zhang, running script, flying white, cursive script and calligraphy.
? Later generations spoke highly of Zhang Huai, because he had a great influence on the calligraphy circle in China. He divided his calligraphy styles into ten systems. Later generations divided Chinese characters into five styles: truth, line, cursive, official script and seal script, all of which were based on Zhang Huai's calligraphy classification.
Zhang Huai Thought is Zhang Huai's exposition and interpretation of calligraphy art under the broad artistic theory background. He believes that calligraphy, like literature, is an "immortal thing" that can "educate the world". Compared with words, "a few words in a text are its meaning, and a book must have seen its heart (in words)." The graphic language expression of calligraphy is more direct and concise than literature. He suggested that first-class calligraphers should "learn from nature", "explore the beauty of pen and ink, and seek the essence of all things", "be eclectic and cut into one phase", draw the beauty of various forms of life movement from the vast world, and turn it into endless pen and ink language, "endow it with the ambition of harmony vertically and horizontally, or endow it with the spirit of dispelling stagnation".
Zhang Huai's Calligraphy Works
With "natural ontology" as the core, Zhang Huai systematically expounded the origin, life value and social significance of calligraphy art from the height of artistic philosophy. At the same time, it puts forward the corresponding theories from the dimensions of technology, aesthetic standards and historical evaluation standards, and weaves the magnificent theories into its own system, which is very speculative. In the whole history of China and calligraphy theory, it can be said that it has surpassed its predecessors. Therefore, people who study calligraphy, if they have not read calligraphy theory of Zhang Huai, can't say that they understand what the calligraphy ideal of China literati is.
Zhang Huai's theory of "three natures" is the unity of book and Tao, and Tao is the noumenon of calligraphy. In "On Calligraphy", he said that "knowing is different from the avenue", "Taoism is natural, and whoever controls it", and "calligraphy is a sign, and the period is harmonious", indicating that the judgment of calligraphy works depends on whether it is harmonious or not. Book and Tao are combined, Tao is natural and Tao is inaction, so book must also be natural and inaction. With the standard of judgment, how to create under this standard? Zhang Huai put forward the viewpoints of "learning from nature without learning from the ancient law" and "showing their own characteristics and following nature with inaction"; In the spiritual realm, it is necessary to "pursue in the dust, look up to the sky and the earth", that is, to go with the dust, to be suitable for things, not to stay in the dust, not to be tired, to reach a happy realm, and to work hard without words, so as to create wonderful works.