China's calligraphy art has a long history, which can be traced back to Wei, Jin, Southern and Northern Dynasties. It is occupied by various styles, and famous calligraphers emerge in large numbers. The two kings and their sons are outstanding representatives of this period. In the Tang Dynasty, Europe, Yu, Chu, Xue, Yan, Liu and Zhao were all good at regular script and cursive script, each with its own characteristics.
During the Northern Song Dynasty, Su, Huang, Mi and Cai were all good at running scripts and learned from them. At that time, people actually learned from each other, but they didn't pay much attention to the methods and basic skills of regular script, and it went from bad to worse in the Southern Song Dynasty.
Then let's talk about the official book Kai Wei. Some people commented that the Tang people respected the law and the Song people respected the meaning, but the main achievement of calligraphy in the Song Dynasty was running script. Zhengshu, the Northern Wei Dynasty is more suitable. As for the characteristics of calligraphy in the Northern Wei Dynasty, it is that after mastering the brushwork, it understands the meaning and guides the trend.
Wei Bei's style of pen fluctuation is manifested in the great range of pen lifting and pen carrying when writing and lifting. The key lies in the high and low position of writing, get up and collect quickly, and use gas. At that time, people's living habit was to sit on the floor, and their wrists were naturally suspended. Without any efforts, it is difficult for people to learn from Wei Bei. Kang Youwei's Talk about Guang Yi and Zhou Shuang praised the courage of the Northern Wei Monument and South Wei Bei. What courage?
There are ten beauties:
1, Xiongqiang;
2. The weather is muddy;
3, the brushwork jumps;
4, stippling the edge thickness;
5. Yiyi;
6. Spirit flying;
7. Full of interest;
8. Bone method is achieved;
9. Natural structure;
10, rich in flesh and blood, etc.
Judging from the surviving inscriptions of the Northern Wei Dynasty, these praises are well deserved.
The high achievements of Zhengshu in the Northern Wei Dynasty were mainly concentrated in the 40 years after Emperor Wen moved the capital to Luoyang and promoted Sinicization. The northern part of Weibei, which has been circulated and unearthed, is mostly concentrated in Henan and Shandong provinces. There are also private collections of rough stones, which are transferred to other places. Although the styles of inscriptions are diverse, the general trend of artistic development is from rough to exquisite and smooth in Gu Zhuo; When you paint with a pen, you indulge in the extremely weighty pen-pressing adventure, and walk on the same simple road with * *, which opened the way for the later calligraphy style of Sui and Tang Dynasties, but in the same period, the development between factions was late and fast.
In the Northern Song Dynasty, Su, Huang, Mi, Cai, etc. were all good at running script, learning in many ways, but everyone was eager to learn, but they didn't pay much attention to the basic skills of regular script. In the Southern Song Dynasty, it went from bad to worse. Zhao Mengfu lived in the Yuan Dynasty, where ethnic minorities dominated. Seeing that the traditional calligraphy art of the motherland was declining, he proposed to pursue the Jin people and learn from the two kings. At the end of the Zhou Dynasty, there was a historian named Shu, who initiated the calligraphy style of Dazhuan, and he discussed this in his Fifteen Chapters of Dazhuan. Although there are some local differences, these characters seem to have been widely used until the Qin Dynasty (22 BC1-207 BC). The King of Qin unified China, the six countries and the written language. Li Si, the prime minister, unified Da Zhuan into Xiao Zhuan, and after many reforms and simplification, it gradually developed into an official script. Cheng Miao's eight-part essay was also created in the Han Dynasty, which is very similar to official script. After the Han Dynasty, due to the change and improvement of writing tools, three writing styles have emerged until now. Regular script, running script, cursive script (jade tendon printing) and (iron line printing). Calligraphers and painters practice this brushwork in order to write and draw freely. Li Bai's uncle Li in Tang Dynasty was a faithful believer and advocate of parallel prose.
There is such a passage in Jiang Kui's Continued Book Score: Generally speaking, the pen is slow and urgent, with a front but no front; There is continuity above and traction below; At first glance, Xu was still ill, and after rushing to collect it, the effect was slow and surprising; There is a front to show off its spirit, and there is no front to contain its smell. The lateral tilt is straight, and the hook-and-loop disk is dominated by potential. However, if you don't want to bring it, you should be closer to the customs. Horizontal painting doesn't want to be too long, and if it is long, it will be converted late; If you don't want to draw too much, you will be fascinated.
As a result, there have been many strange phenomena, just as Cai Yong said, "If the pen is soft, it will be strange. In the meantime, the pen posture is oblique and the hooks and loops are staggered. " And other book theories often say: vigorous, slow, calm, dignified, vigorous, clear and so on. Almost all of them are inextricably linked with human spirit, temperament, personality, psychology, aesthetic taste, sensibility, emotional fluctuation during creation, environmental infection, inspiration and explosiveness ... the complex factors of human spiritual world.
Let's take a look at Sun's exposition: another moment of writing, a good combination. A variety of expressions, flattery when we are together, and small tricks when we are good. Calligraphy is a unique art developed from the practical writing of Chinese characters. The ancients said that softness is wonderful.
Today, the brush is still the best calligraphy tool for writing. The artistic effect of writing Chinese characters with any hard pen or finger can't be compared with writing with brush. Calligraphy art and writing are two different categories after all.
One of the realms of calligraphy is to pursue the ornamental value of Chinese characters, and the purpose of writing only depends on the effect of application. Some characteristics of calligraphy art are very similar to music in pure form art, extracting beautiful factors, independently developing beautiful melodies and shaping various artistic images. Some don't waste the basics, but they keep some ancient styles; Some have developed rapidly, spelling technology; Some even have little difference with Sui and Tang styles, such as the epitaph of Yuan Zhen and his wife. Calligraphy schools in the Northern Wei Dynasty are divided into four categories:
1, Jin Fang School's "Hanging Pen and Dry Writing" and Longmen's "Statue".
2, a school with a messy head and thick limbs. Unless the sculptor is too rough, the brushwork is covered by the blade.
Outside, most people can see the ups and downs of the pen style, such as Longmen's "A Story of a Bigfoot".
3. Chong and Ling Xiu. Like Diao Zun and Cui.
4. A school that looks clumsy and smart. For example, the epitaph of Zhang Heinv and Jing are all beginners in Wei Bei.
Choosing a good tablet is very important:
Calligraphy is a kind of spiritual food and a driving force to stimulate people's feelings. Arouse people's goodwill, feelings and passion.
The soul of calligraphy is that the combination of calligraphy emotion and word meaning is more attractive. You can't just talk about the technique and don't know the meaning of the book. You can't just talk about two kings and write eight laws, which makes your mind suppress your feelings. Your spirit is closed by law. You have no self, only body, no life, you are like a puppet. This is the fault of the arrest law. Learning books is the most taboo Once arrested, it's hard to get rid of it.
Beginners must follow the rules, but they can't. After learning, we must move from law to impossibility and not be arrested by law. Liu Xizai once said: A scholar should get something for nothing first, and then get something for nothing. People who don't work are extremely hard. Handwriting always insists on mistakes. Wang Xizhi's Preface to the Lanting Pavilion, the world's first running script, and Yan Zhenqing's Sacrifice to My Nephew are all rare treasures made with passion. For example, it's natural for Zhang Xu to wake up drunk and feel like a god. The existing method of this book is a monument, and it cannot be played.
When writing a book, you should have intention, understand the meaning of words first, and then write. Accidental effect is to promote the inspiration and artistic innovation of calligraphy, so it often makes people feel lucky and ignores the exercise of basic skills.
People who have no basic training, even if they have accidental inspiration, can't help and can't produce world-famous works. He still thinks that he is above his daily level, but compared with the daily works of masters, it is still far from enough. It is difficult to learn calligraphy, and it is even more difficult to innovate calligraphy. There is no shortcut to calligraphy, only hard work.