During the Three Kingdoms period, official script began to decline from the peak position of Han Dynasty, and evolved into regular script, which became another theme of calligraphy art. Regular script, also known as official script and original work, was created by Zhong You. Regular script entered the history of stone carving in the Three Kingdoms period. The Three Kingdoms (Wei) Period's "Recommended Season Straight Table". "Declaration Form" and so on have become the treasures of several generations.
2. Jin Dynasty
In the Jin Dynasty, he advocated elegance and taste in life, and pursued the beauty of moderation and modesty in art. Calligraphers came forth in large numbers, and bamboo slips were the two kings (Wang Xizhi. Wang Xianzhi) Yan Fang's artistic taste caters to the requirements of literati, and people are more and more aware of the aesthetic value of words. Wang Xizhi is the most representative and influential calligrapher in the history of calligraphy in Wei and Jin Dynasties, and is known as the "sage of calligraphy". Wang Xizhi's running script Preface to Lanting is known as "the best running script in the world". Critics say that his writing style is like floating clouds, and his son Wang Xianzhi's Ode to Luoshen is magnificent, and his "breaking the body" and "brushstroke" are a great contribution in the history of calligraphy. Driven by Lu Ji, Wei and Jin Dynasties, Suo Jing, Wang Dao, Xie An, Liang Jian and other calligraphy families, Nanzong calligraphy flourished. Yang Xin, Qi, Xiao Ziyun and Chen of Liang in the Southern Song Dynasty were all his followers.
At the peak of calligraphy in Jin Dynasty, it was mainly manifested in running script, which was a font between cursive script and regular script. His representative works "Sanxi", namely "Yuan Bo Tie", "Sunshine Tie in Fast Snow" and "Mid-Autumn Festival Tie".
3. Southern and Northern Dynasties
During the Southern and Northern Dynasties, China's calligraphy art entered the era of "Bei Bei Nan Tie".
The Northern Wei Dynasty and the Eastern Wei Dynasty are the best calligraphers in the Northern Dynasties, and their styles are also colorful. Representative works include Zhang Menglong Monument and Shi Jing Jun Monument. The representative works in the inscription are: thousands of words are really grass. The Northern Dynasties praised their ancestors and revealed their family business, and carved many stones, such as the North Monument and the South Post, the North Tour, the North People and the South Land, and the North Glory and the South Show. These are two basic differences.
For example, the representative work of the North-South School is Heming written by Nan Liang. The "Zheng Wengong Monument" in the Northern Wei Dynasty can be described as a binary star between the North and the South. Most northern writers are Shu Ren, whose books are anonymous, so calligraphy is crowned as "the sage in the book", while northern writers include Wang Youjun.
Five: Seeking rules and regulations-Sui, Tang and Five Dynasties
(A) Sui Dynasty calligraphy:
The Sui Dynasty ended the chaos in the Southern and Northern Dynasties and unified China. Later, Tang Dou was a relatively stable period. The development of the South Railway North Monument went hand in hand with the Sui Dynasty, and the form of regular script was officially completed, occupying a position of connecting the past with the future in the history of books. Sui Kai inherited the evolution of Jin, Southern and Northern Dynasties. A new standardization bureau was established in the Tang Dynasty. There are inscriptions in the Sui Dynasty, mostly authentic, which are divided into four styles:
1: the Qifa Temple Monument of Pinghe Ruding Daohu, etc.
2. Strict and strict prescriptions such as Dong's Epitaph.
3. Deep-seated strength, such as' Thaksin Zen Master Taming' and so on.
4. Xiulang is as exquisite as the "Longzang Temple Monument".
(2) calligraphy in the heyday of the tang dynasty:
1: A Brief Introduction to Calligraphy in Tang Dynasty
The culture of the Tang Dynasty was profound and brilliant, reaching the peak of China's feudal culture, which can be described as "books flourished in the early Tang Dynasty". There were more ink marks in the Tang Dynasty than in the previous generation, and a large number of inscriptions left precious calligraphy works. The calligraphy of the whole Tang Dynasty is the inheritance and innovation of the previous generation. Regular script, running script and cursive script all entered a new situation in the Tang Dynasty, with outstanding characteristics of the times, and their influence on later generations far exceeded that of any previous era.
At the beginning of the Tang Dynasty, the national strength was strong, and calligraphy took off from the legacy of the Six Dynasties. Everyone took Ou Yangxun as a regular script. Yu Shinan Chu Suiliang, Xue Ji and Ouyang Tong are the mainstream of calligraphy. The general feature is that the structure is rigorous and tidy, so later generations have the saying of "heavy support in the Tang Dynasty", which was once honored as the "crown of calligraphy" and extended to the prosperous Tang Dynasty. Confucianism and Taoism combined, and Li Yong changed to the right army, which was unique. Zhang Xu and Huai Su pushed cursive script performance to the extreme with their drunkenness. Sun cursive script is good at being elegant. What about the rest? As soon as Yan Zhenqing came out, he accepted the ancient law in his new ideas, and gave birth to the new law outside the ancient meaning. Dong Qichang said that Duke Lu made great preparations for learning from books in the Tang Dynasty. Late Tang Dynasty and Five Dynasties, the national situation declined, Shen Chuanshi. Liu Gongquan changed the model law again. Expose your thinness and strength. It further enriched the method, and in the Five Dynasties, it used Yan and Liu at the same time. When the two kings acceded to the throne, the flanks took a stance and made great efforts. So when they left the troubled times, it was Rao Chengping's only image and the light of Tang books. On the occasion of the Five Dynasties, crazy Zen became popular, which also affected the calligraphy circle. "Crazy Zen Calligraphy" had no obvious scale in the Five Dynasties, but it had a great influence on the calligraphy in the Song Dynasty.
The art of calligraphy in Tang Dynasty can be divided into three periods: early Tang, middle Tang and late Tang. In the early Tang Dynasty, inheritance was the mainstay, statutes were respected, and the beauty of gold calligraphy was deliberately pursued. In the middle Tang Dynasty, innovation continued and it was extremely prosperous. Calligraphy also improved in the late Tang Dynasty.
There were six kinds of institutions of higher learning in the Tang Dynasty, namely imperial academy, Imperial College, Four Schools, Law, Calligraphy and Mathematics. Among them, it is a pioneering work in the Tang Dynasty to train calligraphers and calligraphers. Famous artists come forth in large numbers, Starlight Glimmer. Such as Ou Yangxun, Yu Shinan and Chu Suiliang in the early Tang Dynasty; Yan Zhenqing and Liu Gongquan were both great calligraphers in the middle Tang Dynasty. Wang Wenbing's seal script, Li E's regular script and Yang Ningshi's "Two Kings Yan Liu" appeared in the late Tang Dynasty.
2. Calligraphy in Sui, Tang and Five Dynasties can be divided into three stages:
(1): Sui Dynasty to early Tang Dynasty.
Sui unified China and accepted the culture and art of the Southern and Northern Dynasties. At the beginning of the Tang Dynasty, politics flourished, and calligraphy gradually emerged from the legacy of the Six Dynasties and took on a new attitude. In the early Tang Dynasty, regular script was the mainstream, and its overall feature was strict and orderly structure.
(2): the prosperous Tang Dynasty and the middle Tang Dynasty.
Calligraphy in the prosperous Tang Dynasty, like the social form at that time, pursued a romantic way of getting carried away. For example, Zhang Dian Drunkenness (Zhang Xu, Huai Su) and Li Yong's running script. In the middle Tang Dynasty, regular script made a new breakthrough. Yan Zhenqing, as the representative, laid the standard of regular script, set an example and became orthodox. At this point, China's calligraphy style has been completely determined.
(3): The legacy of the Tang Dynasty existed in the late Tang Dynasty and the Five Dynasties.
1907, Zhu Quanzhong, the separatist, destroyed the Tang Dynasty and established the Houliang, from which the later Tang Dynasty, the later Jin Dynasty, the later Han Dynasty and the later Zhou Dynasty were called the Five Dynasties. Due to the weakness and disorder of the country, culture and art are also declining. 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. During the Five Dynasties, Yang Ningshi's calligraphy was praised. In the five dynasties when calligraphy declined, his calligraphy was the mainstay. There are also outstanding calligraphers, such as Li Yu and Yan Xiu. At this point, the upright and rigorous style of calligraphy in the Tang Dynasty came to an end, and then the "four schools" in the Northern Song Dynasty followed suit and set off a new wave of the times.
The intransitive verb advocates emotion —— From Song Dynasty to Ming Dynasty
(a) the Song Dynasty calligraphy:
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 is the embodiment of seeking' merit', then in Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. In other words, calligraphers should not only have two levels of "nature" and "hard work", but also have "learning", 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 innovative in learning, 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, which makes the academic atmosphere between pen and ink gloomy and sandy, giving people a new aesthetic mood, which is especially good in Wu and Lu in the Southern Song Dynasty. Fan Chengda, Zhu, Wen Tianxiang and other calligraphers have been further extended, but the knowledge and writing 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.