The Historical Origin of Tibetan Calligraphy

Tibetan calligraphy has a long history. As early as 3,000 years ago, Tibetan society had written characters, and the earliest Tibetan language was Das Ibn. On the basis of the new love of Danba, the founder of Yongzhong Benjiao, there appeared Da Ma Wen and Xiao Ma Wen, as well as Tiancheng and Siyi. At that time, there was already calligraphy art, and an art school came into being. In the middle of the 7th century AD, Tonmi Sambuza, the famous minister of Songtsan Gambu, the leader of British Tubo, created the present Tibetan language based on Mal language and referring to the Cuban writings of ancient India, and determined two Daimonji languages, namely Hardware (regular script) and Wu Mei (running script). During the Tubo Dynasty, there were eight Wujin styles. The infinite body created by Tunmi Sanbuza is called Bufo body. Since then, brick lining, beaded body, naked body, lion climbing body, rooster body, diving body, dung beetle and so on have appeared one after another. Wu Mei Style produced two schools: Dan Style and Li Style. In addition, during the thirty-fifth generation of Zangbuchide Songzan, unique calligraphy styles such as esoteric style, esoteric style and phantom style appeared, which were specially used to write esoteric content or esoteric style. There are more than 40 fonts. Nusanjie Yixi, a monk in the period of Chidesongzan, also created a new style of writing. About between the pre-Hong period and the post-Hong period, the great calligrapher Qiong Buyuchi stipulated the position, direction and length of each stroke of Wujin style with reference to the coordinate principle of the painting altar city, and named them one by one, thus realizing the standardization and unification of Wujin style. From then to today, although there are several writing schools in Wujin style, their general patterns are not far apart. From pre-flood period to post-flood period, about 100 years, during which Pasa body appeared. Tibetan calligraphy has developed greatly since the late period of monascus. With the spread of Buddhism, a large number of Confucian classics have been sorted out and copied, which objectively promoted the improvement of Tibetan calligraphy art, ink-making technology and paper-making technology. Every time there is a large copy project, those calligraphy masters at that time will be invited to copy together. For example, in the middle of12nd century, when Ren Sangqingbu, a great translator, organized the revision and supplementary translation of Buddhist scriptures, he asked the most famous calligraphers in Tibet to copy dozens of Buddhist scriptures with indigo paper and composite paper, and asked them to be consistent with each other. /kloc-In the 3rd century, the Sakyamuni Pandita and Baspa built the Sakyamuni South Temple. A wall of Tibetan scriptures was built on the west wall of the Hall of the Great Hero in the temple, which mobilized calligraphers and scribes from various Tibetan areas to copy Buddhist scriptures and became a wall of Tibetan scriptures consisting of more than 80,000 scriptures. The above-mentioned copying activities promoted the popularization and improvement of calligraphy art. Bailong style is an ebony style specially used for writing classics, and it is also a new calligraphy style produced in this period. White dragon body can be divided into oblique dragon, non-oblique dragon and Zhu dragon body. As mentioned earlier, the appearance of Qiongti, Niti and Kangqu in Wujin style is also the need of rigid scripture. Qiongti, in particular, has become the most important and solemn calligraphy style in the Buddhist scriptures written by Jin, especially Ganzhuer, Ode to 100,000 and Danzhuer, whose calligraphy has reached the most exquisite level. During the sagar Dynasty, vermilion with bent legs was produced. Not only the decrees issued by His Holiness Sakya are written in this way, but even the inscriptions are written in this way. During the Gadanpo period, government decrees were written in long-legged vermilion. By the end of 19 century and the beginning of the 20th century, the short-legged Zhu Za of Juanxiu had become the official script of the local government in Tibet. Same calligraphy style, same calligraphy style, same calligraphy style, same calligraphy style, same calligraphy style, same calligraphy style, same calligraphy style. Androgyny and chieftain are divided into male body, female body, female body and female body. The writing style of chieftain and chieftain Qin (Da Cao) is vigorous, which is a great achievement of calligraphy art in the later period of Hong, especially in the last century and this century. Chieftain and Chief Qin have become the most practical and fastest writing methods, and are widely used. A remarkable example of the prosperity of calligraphy in the post-Hong period is the emergence of various calligraphers. Jueluo, Charuo, Guiluo, Mono-multimodal, Yang Dan, Renbu, Wonderful, Basiba, etc. , are all new Tibetan scripts innovated by great translators, scholars or calligraphers in the late Hong Dynasty. Since the emergence of Tibetan, the above characters have appeared one after another. Among them are Wujin, Yiren, Yitong, Zhuzha, Bailu and Sheikh. Especially the toast style is the most widely used. Tibetans have always attached great importance to calligraphy art and practice. In the first few years of school, children mainly study calligraphy and lay a good foundation for calligraphy. When I first started learning Chinese characters, I started with benevolence. In Tibet, writing boards are generally used for practice. It is not allowed to practice calligraphy on paper until the calligraphy board reaches a certain writing skill. Generally, people with a basic knowledge of calligraphy can write six or seven kinds of calligraphy, the purpose of which is to write different calligraphy styles according to the situation. As spokesmen of literati, people attach great importance to the art of writing. In the past, literati wrote letters to others, mostly to show their calligraphy skills. According to the traditional classification of disciplines, calligraphy is a small branch of Gongqiao Ming, which belongs to the Big Five. Engineering intelligence is a very huge subject, covering almost all fields of natural science. Excluding medicine and calendars, of course. The manufacture of paper and the grinding and modulation of various inks are also included in the ingenuity. Therefore, Tibetan scholars, whose highest goal is to master the big and small, big and small, naturally study calligraphy as a knowledge base and elaborate it in their own works or monographs, which will definitely involve papermaking technology.