From 1279 AD when Kublai Khan, the founder of the Yuan Dynasty, destroyed the Southern Song Dynasty and unified the country, until Emperor Shun of the Yuan Dynasty left the Great Wall to the north, there were eleven emperors, which lasted for more than 90 years, and this was the Yuan Dynasty. In the early Yuan Dynasty, the economic and cultural development was not great. The general situation of calligraphy was that it advocated retrospection and the patriarchal Jin and Tang dynasties with little innovation. Wenzong built Kuizhang Pavilion in the early Tianli period, specializing in secret antiques. Emperor Wenzong of the Yuan Dynasty often visited Kuizhang Pavilion to appreciate famous calligraphy and paintings, and calligraphy flourished for a time. Famous masters such as Zhao Mengfu and Xian Yushu are representatives of calligraphy during this period. They advocated the same method of calligraphy and painting, paying attention to the posture of knotting characters. However, the calligraphy world of the Yuan Dynasty purely inherited the Jin and Tang Dynasties and did not have its own style of the times. Later, there were some changes after Zhao Mengfu's Kangli Kuikui, and the extraordinary rise was unique to the calligraphy world of the Yuan Dynasty. Throughout the calligraphy of the Yuan Dynasty, the greatest achievements were still made in Zhenxing cursive script. As for seal script and official script, although there are several famous ones, they are not very outstanding. This type of calligraphy, with Zhen, Xing and Cursive scripts as the mainstream, did not change until the Qing Dynasty. The calligraphy style of the Yuan Dynasty still followed the style of the Song Dynasty and flourished in calligraphy studies. Although each has its own merits, it cannot be established in the calligraphy world as a family. Compared with literature, painting and other art categories, it is still far less accomplished.
Mainly representative calligraphers
1. Zhao Mengfu (1254-1322), named Ziang, also known as Xuesong Taoist, also known as Crystal Palace Taoist, was born in Huzhou (Wuxing, Zhejiang). Descendants of Qin Wang Defang, the son of Emperor Taizu of the Song Dynasty. After entering the Yuan Dynasty, he served as a scholar in the Hanlin Academy and was awarded the honor of being a doctor. He was granted the title of Duke of Wei and was given the posthumous title of Wenmin. He is the author of "Songxue Zhaiji". Zhao Mengfu was an influential calligrapher in the early Yuan Dynasty. "History of the Yuan Dynasty" says, "Meng Fu's seal scripts, seal scripts, and official scripts are all the best in ancient and modern times, so he is famous all over the world for his book." High praise. According to Song Lian of the Ming Dynasty, Zhao's calligraphy learned from Siling (that is, Emperor Gaozong Zhao Gou of the Song Dynasty) in his early years, "Zhong Yao and Xixian" in his middle age, and Li Beihai in his later years. . In addition, he also touched the Dingding Monument of the Yuan and Wei dynasties as well as Yu Shinan, Chu Suiliang and others of the Tang Dynasty, and gathered the great achievements of the previous generations. As Wen Jia said: "Wei Gong imitated all the excellent calligraphers of the ancients." Therefore, Zhao's success in calligraphy is inseparable from his ability to absorb the strengths of others. His representative works include: Qiu E's Tombstone Inscription, Ji An's Biography, God of Fortune's Observation Notes, Danba Stele, Lanting Tie Thirteen Postscripts, Xue Qingyun San Tie, Luo Shen Fu, Miaoyan Temple Notes, etc.
2. Kangli Kuikui (1295-1345), whose courtesy name was Zishan, also known as Zhengzhai, Shusou, and Pengshusou, was a Mongolian. The original biography of "History of the Yuan Dynasty" calls him: "Shen Zhen wrote in cursive script. Those who know it say he has the meaning of Jin people's penmanship. People fight for the treasure on a single piece of paper, but they can't get gold and jade." His official calligrapher is Yu Shinan, and his cursive script is pursued by Huai Sushang. Zhong Yao, Wang Xizhi and others absorbed Mi Fu's unrestrained style and were able to create their own artistic path while following Zhao Mengfu's charming calligraphy style at that time. Xie Jin of the Ming Dynasty said: "Zishan's calligraphy is like a majestic sword leaning against the sky, and a rainbow driving across the sea." As an outstanding calligrapher of an ethnic minority, Kangli Kuikui stands out in the calligraphy world. He has left few ink marks, including the cursive script "Tang Yuan Dynasty" "Zhen Palace Poetry" has a round and dynamic turn. His "Fisherman's Dictionary" and "Cursive Script Writing Method" are indeed Tang and Jin style. The poem "Ancient Style 19" written by Li Bai has elegant and unrestrained handwriting, and is well known for Zhang Cao and Kuang Cao's brushwork.
3. Xian Yushu (1254-1322), courtesy name Boji, also known as Ji Zhi Lao Lao Zhi, was born in Yuyang (now Jixian County, Beijing), and was a doctor of official Taichang. Zhao Mengfu praised him. He highly praised calligraphy and once said: "I and Bo Ji were classmates in cursive calligraphy. Bo Ji was far ahead of me. I tried my best to chase him but could not catch him. Bo Ji is gone. The world is called a servant who can calligraphy. It is said that no Buddha has ever come out to call you Zun." Their calligraphy was collectively known as "Er Miao" at that time. His writing skills are very solid, he can write with his wrist hanging, and his writing power is strong. Yuan Bao, a contemporary, said: "The poor old man is good at turning his wrist back, so his calligraphy is round and vigorous. It may be said that he mostly uses the Tang method, but he and Boji knew each other ten times." In the past five or six years, I have seen that his calligraphy has improved day by day and is better than the common calligraphy of the world." ("Shu Lin Zao Jian") The calligrapher Chen Yi once said: "In this generation, there is only one doctor who is good at hanging wrist calligraphy. When I asked about it, I was angry." He stretched out his arms and said, "Courage! Courage! Courage!" This shows his courage to innovate. His regular script includes "Preface to Li Yuan's Return to Pangu", which is now in the collection of Shanghai Museum. His writing style is simple, rigorous and magnificent. There are some self-written poems in cursive writing, such as "Ode to Poems in Big Characters" and "Tang Poems in Cursive Scroll". His representative works include: Tang poetry and cursive scrolls, and Lin Shenxian's daily life notes.
4. Yelu Chucai (1190-1244), courtesy name Jin Qing, was of the Khitan clan and the eighth-generation grandson of Tuyu, King Dan of Liaodong. The original biography of "History of the Yuan Dynasty" records that he was orphaned at the age of three, and his mother Yang raised and educated him. , Ruo Gou. "After his death, he was named King of Guangning and his posthumous title was Wenzheng. His calligraphy inherited the calligraphy style of Yan Zhenqing and Huang Tingjian of the Tang and Song Dynasties, and was famous for its strictness and strength. Song Lian of the Ming Dynasty said: "The calligraphy and painting made by Yelv Wenzheng in his later years are particularly vigorous and vigorous, as if they were made of cast iron. Their fortitude will last until old age." (Collection of Scholars of the Song Dynasty) The representative works are: Self-written poems: Yelu Chucai Written in regular script. The brushstrokes are vigorous and majestic, and they are not limited to the intricate details of one stroke and one stroke, showing the fierce and vigorous spirit of Mobei.
Second Series of Modern Influence
The influence of Yan Zhenqing’s calligraphy on modern times exceeds that of Wang Xizhi in breadth, and the public is more familiar with Yan Zhenqing than Wang Xizhi
. "Yan Ti" regular script has played an immeasurable role in the popularization of calligraphy. Modern calligraphers also
just like in ancient times, most of them take "face and body" as the basis of their teachings, lay a solid foundation from childhood, and then draw on the strengths of other calligraphers to further
form their own look. . However, each school has different angles, methods and paths for learning beauty, and the final results are also very different.
Generally speaking, it can be divided into three types:
1. Adhere to the appearance method and pursue similar appearance. That means writing strictly according to Yan Kai's strokes and structure, and not daring to go beyond the limits.
The writing is very similar to Yan Kai's style. This type of calligrapher can be represented by Tan Yanyan in the late Qing Dynasty and the early Republic of China. Tan Yan? (1880
-1930), also known as Zu'an, also named Zu'an, nicknamed Weisan, was born in Chaling, Hunan, and was a Jinshi. In the late Qing Dynasty, he served as Shuji of the Hanlin Academy
scholar. After the Revolution of 1911, he followed Sun Yat-sen and served as Secretary-General of the Generalissimo's Office in Guangzhou, and later served as Chairman of the National Government and Director of the Executive Yuan. Due to the influence of Weng Tong, who was good at "Yan Ti" when he was young, he studied calligraphy and specialized in "Yan Ti". He especially liked to read "Ma
Gu Xian Tan Ji" and visited this monument 220 times in his life. His calligraphy was born out of Yan's calligraphy, and his brushstrokes are vigorous and powerful, sweeping away the charming and charming attitude of the early Qing Dynasty.
The Feng'an Monument at Sun Yat-sen Mausoleum in Nanjing and the Outline of the Founding of the People's Republic of China on the four walls of the dining hall were both written by Tan and are still praised today. But
Tan Shu has great limitations. Although he worked very hard, he basically adhered to the style of Yanzi
in forming words, using pens, using ink, and writing style, and did not form his own style. Although he successively won over Qian Feng, Liu Yong, and Weng Tong, all of them had their own calligraphy styles, so it was difficult for their calligraphy to develop their own styles. In addition, his lifelong involvement in politics and his untimely death prevented his calligraphy art from reaching a higher level.
2. Use form to describe spirit, both form and spirit. This kind of calligrapher learns "Yan style" regardless of form and quality, that is, he does not seek to resemble every bit of painting
but takes its spirit and meaning, and blends it into the style of the times to form his own style. Shu Tong can serve as a model in this regard. Shu Tong (1905-1998), courtesy name Wenzao, was born in Dongxiang County, Jiangxi Province. He learned to read at the age of six, and became famous in his hometown at the age of ten and four, and was known as a "child prodigy". Under the guidance of his private school teacher, he studied the steles of Yan Zhenqing and Wang Xizhi since he was a child. The four characters "Zhangguo Yannian" included in "Shu Tong Calligraphy Collection" are simple, majestic, vivid, rich and natural, and contain the charm of Yan's calligraphy. We can see the progress of his calligraphy when he was nine years old. Solid skills. He integrated the art of calligraphy with the revolutionary cause
and did not forget to study and hone his calligraphy skills during his military service. On the basis of Yan Kai, he pursued the Qin Dynasty
and imitated the Tang and Song Dynasties at the bottom. He studied the "Two Kings" and He Shaoji especially diligently. In this way, he benefited from many teachers and gathered the best of each dynasty
Pure and comprehensive, I finally found my own way and wrote my own style. The word "Shu" is dignified, solemn, graceful, majestic and majestic
with a transcendent attitude. There are shadows of Yan Zhenqing and He Shaoji, but they are not completely like Yan Ti or He Ti, and their personality characteristics are distinct
.
3. Melting the past to cast the present, deepening and sublimating, with me and no one else, a wonderful family.
This kind of calligrapher learned "Yan Ti" in his youth, and later won over other calligraphers, integrating the past and the present, and finally established his own school and became a master. This type of calligrapher is generally a great master in the literary world, a master in the calligraphy and painting world, or a great man of the generation, such as Guo Moruo, Qi Baishi, Mao Zedong, etc.
As a great statesman, military strategist and thinker, Mao Zedong wrote down all kinds of things no matter in the turbulent war years,
or in the socialist construction that was dealing with all kinds of things. A large number of manuscripts, poems and letters, etc. He
has a good knowledge of calligraphy and has drawn profound nutrition from traditional calligraphy. Mao Zedong was good at writing good-looking characters in his youth. In his middle age, he absorbed the calligraphy skills of the "two kings". In his later years, he was immersed in Huai Su and Zhang Xu.
But he did not stick to ancient methods and created his own ideas. Its regular script is unequivocal, and it is not difficult to get a glimpse of the meaning of the Tang stele and the Bei stele. In his later years
The distinctive Kuangcao he created in his later years embodies Xizhi's charm and Huaisu momentum in his wild brushwork. He understood the meaning of the ancient cursive calligraphy masters without copying their shapes. His writing was majestic, unrestrained and unique, rich in romanticism and pioneered the development of Chinese calligraphy. A new generation.