Five generations. There are ten countries: Qianshu, Wu, Chu, Min, Nantang, Jingnan, Houshu, Nanhan, wuyue and Beihan. This split and chaotic situation lasted for 54 years, during which many wars took place. Although the art of calligraphy continued after the end of the Tang Dynasty, due to the influence of war and fire, it formed a general trend of decline. When Su Shi commented on the calligraphy of the Five Dynasties, he once said: "Since Liu Yan's family was absent, the brushwork declined, and there was chaos at the end of the Tang Dynasty, the words were withered, and the literary talent was romantic, sweeping the floor." Unique style, outstanding calligraphy, Yan and Liu "two kings." This is really a hero of the book, not lost by the times. "On the occasion of the Five Dynasties, Yang Ningshi's calligraphy was praised. In the five dynasties when calligraphy declined, his calligraphy was the mainstay. Besides Yang, there are accomplished calligraphers like Li Yu and Yan Xiu.
At this point, the honest and rigorous style of calligraphy in the Tang Dynasty came to an end and gradually entered the vertical and horizontal directions. Later, the "four schools" in the Northern Song Dynasty followed suit and set off a new wave of the times. (873-954) was a native of Huayin, Shaanxi. At the end of the Tang Dynasty, he was a doctor, and in the Five Dynasties, he was an official of the prince, also known as "Yang Taishi". He used to pretend to be crazy, so "Crazy Yang" became his nickname. He can recite poems and is humorous, especially good at writing letters. Yang Ningshi's handwriting is mostly written on the wall, and his brushwork is simple and elegant. Huang Tingjian went to Luoyang to see the ink on the temple wall. He said: "Yang's calligraphy is a wonderful work, which is a must with Wu Sheng's paintings." He also said: "Since the Jin Dynasty, it is rare to get rid of the' two kings', but Yan and Yang are like big orders; Lu Gong's book is respected by many people today, while Shao Shi's book says it is good, but not very good. If you want to know Yang Zhishu, you should be like a nine-square horse, and you can keep it. " Since then, the world of this book has been called "Yan Yang".
Yang Ningshi's ink is not much, and the famous one is Jiuhua Tie. Turned into gold, and our calligraphy became neat and dense. Huang Tingjian pointed out in a poem: "The world tries its best to learn Lanting noodles, and wants to change every bone without elixir. Who knows that Luoyang Yang is crazy and goes to the bar as soon as he writes. " Later generations think that comments are good. Yang Ningshi's cursive script is also bold and unrestrained, among which Lu Hong's Caotang's picture and postscript are very imposing, much like Yan Zhenqing's "Sacrifice to My Nephew". Wild grass immortals live freely, and the book review of Haiyue said that "it is like a cross wind and oblique rain, falling clouds and dropping eyes quickly". He has a poem named "Huai Su Drunk", which is a summary of his calligraphy creation experience: "I didn't know Wang He until I studied Su Wen for ten years. Cao Sheng doesn't need to be drunk, and the pen should be dissolved. " ("Complete Tang Poetry" Volume 715)
His book style directly influenced the book circle in the Northern Song Dynasty, and it was a major hub from the Tang Dynasty to the Song Dynasty.
Main works: leek flower stickers
Regular script and hemp paper can be regarded as the representative works of Yang Regular script. Dong Qichang, an Amin, wrote an inscription for the post, calling it "elegant and with good style". According to this post, we will find that not only the font and pen feel scattered, but more importantly, the spacing and spacing of Jiuhua posts are stretched to the limit. But its style runs through, Shu Lang is ethereal, so it is unique in line, which was not available in the previous generation. This alone makes it independent of the masterpieces of ancient schools. In addition, Jiuhua Tie is unique in word structure, or wearing a top hat, or separating left and right, or shifting the center of gravity, or being light and full of interest. It seems natural, without any affectation.
Immortality law post: cursive script. Hemp paper book. Xuanhe's calligraphy spectrum says that Yang is "especially good at shaking grass", which is evident in this calligraphy. In the cursive script, the immortal life calligraphy post also contains some running scripts from time to time, which was later called "sleet". This method began with Yan Zhenqing's manuscript, and Yang Ningshi can achieve mastery through a comprehensive study, which makes people enter the realm without any trace. Huang once commented on this post as "dispersing monks into saints" and Mi Fei called it "naive seclusion". At first glance, it seems careless, but in fact, it pays great attention to the priorities of the pen and the vertical and horizontal direction of the structure, showing its superb skills in controlling rhythm and rhythm. On the occasion of the decline of the Northern Zhou Dynasty, Song Taizu and Zhao Kuangyin launched a mutiny in Chen Qiao and established the Zhao and Song Dynasties. Half a century of Five Dynasties and Ten Kingdoms Rebellion ended and the country was reunified. From 960 to 1279, calligraphy developed slowly for more than 300 years. Paying attention to calligraphy, he bought the ink of Wang, a famous official of the ancient emperor, and ordered Wang, a scribe, to carve the Forbidden City into ten volumes, which is the post of Chunhua Pavilion. "Every minister who goes to the second palace will get a gift." Half of the posts are the works of "Two Kings". Therefore, calligraphy in the early Song Dynasty belonged to the "two kings". Since then, Jiang Tie and Tan Tie have been reprinted from Chunhua Pavilion Iron. The difference between this engraving and the original will become bigger and bigger. Therefore, the same clan is subordinate to the king, and the Song people are far less than the Tang people. Therefore, some critics believe that when calligraphy is popular, it will decline. This is also one of the reasons for the depression of calligraphy in Song Dynasty. Secondly, as Mi Fei pointed out in the Book History, "keeping pace with the times and attaching importance to books" also led to the decline of calligraphy in the Song Dynasty. Mi Fei said: "Li Zongkai has been writing books for a long time, and all the scholars have learned from his books. Fat and ordinary. In order to vote for it, use it to get the title. Since then, it has only become fashionable and expensive. " After crossing the south in the Song Dynasty, such as "A Book of Trees and Algae" said: "Emperor Gaozong first learned yellow characters, and the world suddenly learned yellow characters; After the word rice, the world suddenly learned the word rice; ..... build a small art and advocate it from top to bottom, which is so popular. " In this atmosphere, calligraphers can inherit according to their own understanding of calligraphy art, and there is not much innovation. The second reason why calligraphy was not very prosperous in Song Dynasty. In a word, the popularity of calligraphy and the change from emperors' likes and dislikes to ministers' calligraphy style influenced and restricted the development of calligraphy in Song Dynasty. In the Song Dynasty, Su Shi, Huang Tingjian, Mi Fei and Cai Xiang were admired by later generations. Outside the four schools, harmony is unique and can also be called Tao. Famous representative calligraphers are: Cai Xiang, Su Shi, Huang Tingjian, Mi Fei and Evonne.
Cai Xiang (10 12- 1067): Mo Jun, a native of Xinghua. Bachelor of Science in Governing Duan Mingdian. "Biography of the History of Song Dynasty" called him: "Handwriting is the best in the world, and Renzong loves it." At his age, he is seniority, which should be before Su, Huang and Mi. In school, Su, Huang and Mi are all good at cursive and running script, while Cai Xiang likes to write regular script. His calligraphy was learned from Wang Xizhi, Yan Zhenqing and Liu Gongquan, which was dignified and magnificent. Su Dongpo said: "Mo Jun has a high talent, profound knowledge and endless changes, so it is the first in the DPRK." Cai Xiang is honest and clean, and his words are profound. His words are "noble and noble, bearing and moral". Yan Zhenqing's "Confessions and Postscripts" was written and revised, which can be used as a model. Shen Kuo said that he was good at "writing cursive script in prose, which is called scattered grass or flying grass. His methods were all born in Bofei and became his own." This shows that Cai Xiang, a calligrapher who lacks the spirit of reform, is not old-fashioned, and he is also pursuing ancient interests and making innovations.
His major works:
One of Cai Xiang's representative works of regular script. Every word is elegant, graceful and meticulous. It seems that all the characters are made of noodles, but the structure is slightly flat.
A masterpiece of cursive script. The brushwork is bold and honest, tactfully and tactfully, and the pen is free. This post is based on "Yuan Bo Post" and combined with Cao Zhang's brushwork, which makes it organically integrated and forms Cai Xiang's unique cursive style.
Meng Huitie: Running script. Song dynasty's running script is based on the preface to Lanting, and Yan's sincere and steady artistic connotation makes the calligraphy art develop into a new era.
Tao Shengtie: Cursive script. Handsome. The knot size is appropriate, the density is light, and it can be done at will. Huang Tingjian said: "The really beautiful bamboo slips in Mo Jun can enter the room of Yongxing (Yu Shinan)" is very correct. (1037-11kloc-0/) Zizhan was born in Meishan (now Sichuan). He and his father, Su Xun, and his younger brother, Su Zhe, are famous for their poems, and they are called "Sansu". His calligraphy draws nutrition from Yan Zhenqing, Liu Gongquan, Chu Suiliang, Xu Hao, Li Beihai and Yang Ningshi, and strives for innovation on the basis of inheriting tradition. When talking about his calligraphy, he said, "The method of writing is not perfect, but I can't get it all." When talking about his artistic creation of calligraphy, he said: "I can't write books with my heart, and I am very happy." He focused on "meaning" and sent his feelings to the book with "faithful hand". On the basis of his profound understanding of calligraphy art, he used traditional techniques to create calligraphy art, enriching and developing traditional techniques in calligraphy art creation, rather than simply mechanically removing the old. He used a special method different from ordinary people in writing methods, and also paid attention to the reform of writing tools. His representative works include Dark Clouds in the Sky, Poems on Spring Scenery in Dongting, Poems on Song Lao in Zhongshan, Poems on Spring Posting, Poems on Wine Love, Poems on Cold Food, Poems in Shu, Drunk Pavilion, etc.
The main works are: Huangzhou Cold Food Poetry Post, Luochi Temple Monument, Chibi Fu, Fengle Pavilion and Huangzhou Cold Food Poetry Post.
Huangzhou cold food poem post: paper version, 25 lines, *** 129 words, is the representative work of Su Shi's running script. This is a poem to send a revival, and it is a sigh of life caused by Su Shi's relegation to Huangzhou for three years. The poem is desolate and affectionate, expressing Su Shi's melancholy and lonely mood at this time. The calligraphy of this poem is produced in this mood and situation. The whole calligraphy is full of ups and downs, radiant and unrestrained, and there is no shortage of pens. Huangzhou Cold Food Poetry Post has a great influence in the history of calligraphy, which is called "the third running script in the world" and is also a leader in Su Shi's calligraphy works. As Huang Tingjian wrote after this poem: "This book was written by Yan, Yang and Li Xitai. If you want to restore Dongpo, it may not be the case."
Luochi Temple Monument: Linear. Luochi Temple was originally built in memory of Liu Zongyuan, a famous writer in the Tang Dynasty. There is a tablet of Luochi Temple inscribed by Han Yu and Shen Chuanshi in the temple, which is long and ugly. This monument was carved in the tenth year of Jiading in Song Dynasty (12 17) according to the original poem "Welcome to the gods" inscribed by Su Shi. Regular script is ten lines, four inches in size. Qing book: "Luochi Temple is extremely healthy and was changed by the law of the Tang Dynasty. Jin people rhyme, borrow momentum, pose, size and length, and have their own structure. This monument is vigorous and vigorous, and it seems to be transformed by Yan's "Oriental Painting Praise". Fat but not swollen, thick but not soft, it is really the crown of Su characters. "
Su Shi's masterpiece. Paper books, regular script. His calligraphy is rich and beautiful. Dong Qichang spoke highly of it in Ming Dynasty, and thought that this volume of calligraphy was "full of positive front, which was the Lanting of Pugong". At the end of each wave, there are faint ink marks, such as millet beads. Ha ha! The world does not know that there is a brushwork, and the ink method is similar. "This is precisely because of his profound literary accomplishment and solid traditional foundation of calligraphy. There is a trend of flowing water, especially the ink is thick, flexible and not stagnant. It looks ok, but it is actually interesting, and it is not too much to be called the first in the Song Dynasty.
Fengle Pavilion Monument:
Ouyang Xiu writes Fengle Pavilion tablet in regular script. The original stone carving was lost in the sixth year of Yuan You in the Northern Song Dynasty (A.D. 109 1). Remake in Jiajing period of Ming Dynasty. This tablet is one of Su Shi's calligraphy masterpieces in his later years. What the predecessors called "vigorous style of writing and harmonious customs" is indeed appropriate, and the font is slightly vivid, which has the characteristics of "round rhyme wins". Amin Wang Shizhen commented that "since Yan Zhenqing and Xu Hao, the knot has been slow and strong", which can be confirmed in this monument. Lu Zhi (1045- 1 105) was born in Xiushui, Jiangxi. Later people called him the Yellow Valley. The Biography of Wen Yuan in the History of Song Dynasty said: "The articles learned by Ting Zhang are naturally acquired. Chen Shidao said that his poetics is Du Fu, he is good at cursive writing and his writing style is unique. He, Chao and Qin Guan traveled in Sumen, collectively known as the four bachelors in the world. " He himself said, "I studied cursive script for more than 30 years, and I took Zhou Yue as my teacher at the beginning, so I was full of vulgarity for 20 years." Su Caiweng was too late, and the beautiful book was written by the ancients. Later, I got Zhang Changshi, Huai Su and Gao Xian's Mo Bao, so I can get a glimpse of their brushwork. "His running script, such as Ge and Su Shi's cold food poems and postscript, and his pen, such as Feng Ban's" Miscellaneous Notes on Dull Songs ":"The pen starts from painting, returns to the left wrist, and actually draws to the right, but it jumps again, like a cloud and returns to the wind. "He wants to go from right to left, from the hidden front in the painting to the left pen, and then draw out," there is no peace and no evil "and deliberately change the pen; Go back to the pen and hide your cleverness. Good at hiding the front, paying attention to setbacks, and taking "painting bamboo as a book" gives people the feeling of "leisurely". Its structure comes from Yan's "Eight Guanting Jiangbao", and the middle palace is tightened, radiating outward from the center, and extending horizontally, such as paddling and propping up boats, with great boldness and momentum. His personality is very obvious. When learning his calligraphy, we should pay attention to the "leisurely joy" and the extensiveness of the structure. As for his cursive script, Zhao Mengfu said: "Huangtai history books have the meaning of Zhang Changshi's roundness." "If you are an elegant person, it is admirable. "We can see that his poem" Poem of Flower Spirit "is vigorous, clumsy and unfortunate, fat but not thin, and" unusually vigorous ". Its charm is no less than that of regular script. " Please sit down "and" the brushwork is fluttering "is a rare masterpiece.
His main works are: Flower Post, Huangzhou Cold Food Poetry and Li Bai's Memories Poetry.
Flower stickers: cursive, paper books. Huang Tingjian's cursive script is the highest in Song Sijia. He "studied cursive script for more than 30 years" and got a glimpse of brushwork from Zhang Xu and Huai Su. Later generations rated his cursive script higher than regular script. The second line of this post, still between cursive lines, looks stiff. From the third line, it is magnificent, and it is natural to pay little attention to stippling, but it is extremely natural.
Postscript of Huangzhou Cold Food Poetry is an afterword he wrote after Su Shi's Huangzhou Cold Food Poetry Post. This postscript has always been treasured by people, and it is called "double wall" together with the original post. The cold food postscript shows the basic artistic features of the Yellow Book. "Postscript" is sharp, crisp and flexible. His handwriting hides the front and protects the tail, and his long strokes are quite obvious. Because Huang Tingjian is good at grasping the tightness of words, he has formed a special sense of form that uterine contraction radiates around, which is also called radial calligraphy. In terms of layout, the postscript often seeks balance from the side and stability from the tilt, so the changes are endless and the music is wonderful. From a local point of view, a line of words can meet the needs of both sides, but on the whole, they echo each other and set each other off. This postscript gives people the impression that it is full of expression and magnificent, and has never suffered from famine, reaching the artistic realm. So he proudly said at the end: "When I see this book in Dongpo one day, Ying Xiao Wo will be honored where there is no Buddha."
Li Bai recalls the past: cursive ink. Fifty-two lines, more than 340 words. According to Shen Zhou, a painter and calligrapher in the Ming Dynasty, this volume was written by Huang Tingjian after he was relegated to central Guizhou during the reign of Shao Sheng (A.D. 1094- 1098), and it is his masterpiece of cursive writing in his later years. As Shen Zhou said in the preface and postscript of the poem: "The greatness of calligraphy in the valley hides the truth of his later years (Huai Su). This brushwork is superb, called' Cao Sheng'! " At this time, Huang Tingjian's cursive art has reached the point of perfection. Commenting on this post, Zhu Yun said: "This scroll is full of truth, and abortion is almost wonderful." The calligraphy of this poem won the free and easy charm of Zhang Xu and Huai Su's cursive script, and it became a school of its own. It is a masterpiece of Huang Tingjian's cursive script, which is tight, fine, powerful and vigorous.