Calligraphy in Song Dynasty attached importance to artistic conception, which was the result of Zhu Da's advocacy of Neo-Confucianism. The connotation of artistic conception includes four points: one is philosophical, the other is bookish, the third is stylization, and the fourth is artistic expression. At the same time, it mediates the individuality and originality in calligraphy creation. These are all reflected in calligraphy. If the worship of dharma in Sui, Tang and Five Dynasties was the embodiment of seeking "writing", then in Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. That is to say, besides being natural and diligent, calligraphers should be knowledgeable, that is, bookish, so that northern Song Sijia can change the face of Tang Kai. Direct promotion and calligraphy heritage.
No matter Cai Xiang and Su Dongpo, who are talented and innovative, or Huang Tingjian and Mi Fei, who are looking up to the ancients, they all strive to show their calligraphy style and highlight an unconventional posture, so that the learning atmosphere is gloomy and sandy between pen and ink, giving people a new aesthetic mood, which is in Wu Jizhong of the Southern Song Dynasty. Fan Chengda, Zhu, Wen Tianxiang and other calligraphers have been further extended, but the knowledge and pen and ink skills of the Southern Song Dynasty calligraphers can no longer be compared with those of the North. Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai.
Calligraphy art in yuan dynasty
At the beginning of Yuan Dynasty, there was little economic and cultural development, and the overall situation of calligraphy was advocating retro, patriarchal clan system in Jin and Tang Dynasties, and less innovation. Although the Yuan Dynasty was ruled by foreigners politically, it was assimilated by Chinese culture culturally, which was different from the pursuit of artistic conception in the Song Dynasty. The intention of Yuan Zaju is to pursue the beauty of openness, so Su Shi flaunts that "I can't write this book according to the intention" and Zhao Mengfu advocates that "it is not easy to use a pen through the ages". The former pursues the meaning of speed, and then emphasizes the meaning of intention. The core figure in Yuan Dynasty is Zhao Mengfu, whose regular script Zhao Ti and the European style of regular script in Tang Dynasty. Liu style, also known as four styles, became the main style of calligraphy in later generations. Because Zhao Mengfu's calligraphy thought is definitely not one step ahead of Wang's, his calligraphy has a unique understanding of the essence of Wang's calligraphy, which is manifested as "Wen Ya" and "elegant" style, which is also related to Thaksin's Buddhism. Aesthetics tends to be elegant and detached, which is related to getting a spiritual liberation. Xian Yushu and Deng Wenyuan were also famous in the Yuan Dynasty. Although their achievements are not as good as Zhao Mengfu's, they also have their own uniqueness in calligraphy style. They advocate the same method of calligraphy and painting and pay attention to the posture of writing.
Looking at the calligraphy in the Yuan Dynasty, the characteristic of the calligraphy in the Yuan Dynasty is "respecting the ancient and sticking to the post", and its great achievement is still in cursive script. As for turning profits, although there are several famous artists, they are not very good. This kind of calligraphy with lines and cursive script as the mainstream didn't change until the Qing Dynasty. There was a calligraphy style in Yuan Dynasty, which prevailed in the calligraphy research in Song Dynasty and Tang Zongjin Period. Although they have their own merits, they can't stand in the calligraphy world in the same way. Compared with literature, painting and other arts, it is far from successful.
Calligraphy art in Ming dynasty
The development of calligraphy in Ming Dynasty can be divided into three stages:
1: the first stage-early Ming dynasty
In the early Ming Dynasty, calligraphy was characterized by "one word with many images" and "Taige style" prevailed. Brother Shen helped push the stable lower case to the extreme. "Every gold edition of the jade book is used by the imperial court, hidden in the secret room, and the book is awarded to the country." Er Shen's calligraphy is regarded as a model of imperial examination. In the early Ming Dynasty, there were Liu Ji who was good at cursive script, Song Liao who was good at small seal script, Song Lian who was good at seal script, and Zhu Ke, a famous Cao Zhang master at home and abroad. And Zhu Yunming, Wen Huiming and Chong Wang.
2. The second stage-Zhong Ming
In the middle of Ming Dynasty, four schools of Wuzhong emerged, and calligraphy began to develop in the direction of business. Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong took the Supreme Law from Zhao Mengfu to Jin and Tang Dynasties. The style of writing is also peerless, which is related to the development and liberation of thought at that time, and calligraphy began to enter a new realm of advocating individuality.
3. The third stage-Late Ming Dynasty
There was a critical trend of thought in calligraphy in the late Ming Dynasty, which pursued large-scale and shocking visual effects, borrowed the momentum from the side, spread it horizontally and vertically, and covered the paper with smoke, which made the original order of calligraphy begin to collapse. Representative calligraphers are Huang Daozhou, Wang Duo and Ni. Dong Qichang, commander of Tiexue Temple, still sticks to the traditional position.
Lyricism and Advocacy —— From Ming Dynasty to Qing Dynasty
In the late Ming and early Qing dynasties, the mainstream of aesthetics was based on lyricism, pursuing individuality and advocating rationality, and orthodox classical aesthetics coexisted with new aesthetics of seeking differences. The overall tendency of calligraphy in Qing Dynasty is to emphasize quality, which is divided into two development periods: paste learning and stele learning.
The wild pen and ink in the late Ming Dynasty is wild. Cynicism was further extended in the early Qing Dynasty. For example, the works of Zhu Fushan and others still show my inner life and an elusive emotional expression. This point reappeared in the mid-term "Yangzhou Eight Eccentrics". At the same time, the post-school system in the late Ming Dynasty was further developed. While respecting the tradition, Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi, Liang and Weng Fanggang all tried to show a new look, or wrote in light ink or changed the composition structure. However, due to the inheritance of the post in the senior year, there is no good cleaning, understanding and adjustment, and some accumulated disadvantages are deepening day by day, making the decline of post learning inevitable.
At this time, more and more stone carvings were unearthed, and the literati turned from their keen interest in letters to the study of stone inscriptions. For a time, the government and the people flocked to the study of steles, which eventually became a democratic trend of thought in the Qing Dynasty, together with Ruan Yuan and Bao. Kang Youwei strongly advocated that stele study existed as a calligraphy system, competing with post-study. At that time, famous calligraphers were Jin Nong, Deng, He, Zhao, Wu Changshuo, Kang Youwei and so on. One after another, they used the tablet to write and draw, and each did his best. A dazzling situation. It can be described as a landscape of China calligraphy culture. If the epitaph's desire for quality has not been realized, then this desire has been realized in the study of steles.