Keywords: Yuan Zhen's epitaph; Artistic style; Influence; explore
As the earliest epitaph of the Northern Wei Dynasty, Yuan Zhen's Epitaph has been studied by many scholars who studied northern Wei Dynasty. Mainly based on practicality, to analyze its pen, structure, composition, as well as a small number of prints and historical background. On the basis of previous literature, this paper puts forward some personal opinions on Yuan Zhen's epitaph.
I. Overview of Yuan Zhen's Epitaph
(1) Introduction
The epitaph of Yuan Zhen (1926) was unearthed in Mangshan, Luoyang, Henan. It is one of many epitaphs of the Northern Wei Dynasty unearthed in the same period. Carved in the 20th year of Emperor Xiaowen of Wei Dynasty (AD 496), it is a classic inscription in the middle of Northern Wei Dynasty. 17 lines, each line 18 words, * * * 306 words. Height 7 1 cm, width 7 1 cm. Xi existing forest of steles.
(2) Artistic style
Yuan Zhen's epitaph is a typical representative of the transition from official script to Weibei. At this time, most of the book posts are "mixed official script" or have the taste of official script in regular script. Most of the inscriptions in this period are more like official script, wide and flat, and the characters are slightly flat. Open it with a pen, horizontally and vertically. This paper will focus on its artistic style, font, structure, composition and pen use.
1. pen
(1), horizontal drawing
Generally, there are two forms of epitaph of Yuan Zhen, one is regular script and the other is official script. I didn't mention it too much when I wrote it, and it was magnificent. For example, the word "ten" in it and the long horizontal in the word "big". Cut the pen to the top and the center is flat. It was raised a little when I closed the pen. Now it seems that mature Tang Kai is not much different. The word "Hua" and the word "nian" have different horizontal directions. The angle of entry is also very different. It shows the diversity and richness of calligraphy. At the same time, it retains the "twists and turns" form of official script. There are few such performances in the whole monument, but it has initially shown the face of "Luoyang style". And "horizontal painting immediately" was formed here. For example, the horizontal paintings of the words "spring" and "sound" are different in length, direction and angle. Each has his own attitude.
(2), the focus of writing
Most of the points in the north of Weibei are triangular points. The incidence rate is high and the treatment methods are diverse. Such as "pole", "constant", "condensation" and "flow", all show the characteristics of triangular point stone carving. In addition, I also found an interesting point in it, that is, the strokes of some words are also replaced by dots. For example, the paintings of "Geng" and "Di"? one of
(3), vertical painting writing
There are also various postures of the vertical in Yuan Zhen's epitaph. Such as length, thickness, hidden front, exposed front, pointed pen, round pen, Fang Bi and inclined side. The most interesting thing is the front. If you look closely, you will find some words on the left, such as "in" and "foreign country". There are also Rightists, such as "Hua" and "Wei". Compared with the horizontal painting, the vertical painting has little change, but it is quite rich, such as "ten", "year" and "army", and some are thick on the top and thin on the bottom, such as "benevolence" and "early". There are also two thin ends and a thick middle. For example, Weibei is like this. On the surface, nothing seems to have changed, but who can tell the inside story?
4, the writing on the left.
The ellipsis in Yuan Zhen's epitaph is a place that we need to pay special attention to if we want to master its characteristics. The ellipsis in Wei Bei is different from that in Tang Jie, and it is more powerful. It can be discussed from its writing process, writing method and angle. It is not difficult to see that it uses a variety of strokes in the process of using the pen. For example, the word "layer" means that the pen is light and the pen is light. Look at the pen, for example, "Zhu" means light pen, heavy pen and light pen. There are many words with vertical and horizontal strokes, such as "zhe" and "Xiao".
(5), thinking and writing
There are various paintings in Yuan Zhen's epitaph. Fang Si, who uses regular script, has "twists and turns" of official intention, and both. For example, "Ding", "Water" and "Ding" are the most common square strokes in regular script. "Zhi" and "Shi" are "twists and turns" in taking French official scripts. We can even find that there are many ways to learn from Weibei in Tang Kai.
(3) Structure
Although the structure of Yuan Zhen's epitaph is mostly left low and right high. But after careful study, we can find that the structure of each word is different. The most striking feature inside is: majestic. Open and close. Such as "big", "Zhu" and "Ning". There are also words that are extremely tight. Such as "Jun" and "Truth". There are also several words that are high on the left and low on the right, such as "Qi" and "Shi". But the biggest feature is that oblique painting follows closely.
(4) Composition
The composition of Weibei is mostly one word, so is Yuan Zhen's epitaph. You can see it on the original flat panel. Still relatively regular, between rows and columns. There is a certain distance. But we can also see the connection between words. Through the mutual penetration and echo between strokes, various rules are created.
(5) The influence of inscriptions on epitaphs.
When it comes to seal cutting, we have to talk about the background of the times. At that time, only princes and nobles could have such a large-scale epitaph. The owner of my project "Epitaph of Yuan Zhen", Nan Wang An Yuan Zhen, was undoubtedly a royal family, and moving the capital also played a particularly important role at that time. Therefore, it must have been a very powerful calligrapher who wrote the epitaph for him at that time, and someone who had certain attainments in calligraphy. It can be seen from the changes in the structure of words, the use of pens and the regular structure. The sculptors in the Northern Wei Dynasty were not so fierce. Everyone should know that most of the ancient craftsmen were hereditary. Generally speaking, they are inherited from their father, and there is no special school. Although underdeveloped, people who could serve the royal family were also outstanding at that time. Although influenced by the relocation of the capital, the woodcut can still show the writer's pleasure and chic. Admittedly, there are some inscriptions and simplifications. There are still some mistakes and blunders. Generally speaking, it is good to see the weather in Weibei easily.
Second, the comprehensive comparison of Yuan Zhen's epitaph, Yuan Xianjun's epitaph and jing yuan's statue inscription.
(A), the historical background contrast
The inscription is a combination of calligraphy art and craftsman carving art, so when I understand the inscription, I should not only know the artistic style at that time, but also know whether the craftsman system at that time was perfect. Emperor Xiaowen of the Northern Wei Dynasty changed "Tuoba's family" to "Yuanshi County", so the epitaph of Yuanshi County was the royal epitaph of the Northern Wei Dynasty. With the special status and identity of the family in Yuanshi County, the epitaphs of the deceased are different in stone selection, calligraphy and lettering. Generally speaking, its stone selection is exquisite, its writing is respectful and its carving is accurate. Because of the noble status of the tomb owner, the calligraphy style is mainly fair, gentle, harmonious, elegant, elegant and beautiful, with royal style. And "Inscription of jing yuan Statue". Built in the 23rd year of Taihe in the Northern Wei Dynasty (499), Jacky, the secretariat of Yingzhou, prayed for Emperor Xiaowen and his family. Wanfo Hall Grottoes and Yungang Grottoes were founded at the same time, which is the earliest and largest grottoes in Northeast China. At the same time as the famous epitaph of Yuan Zhen, although the local area is far away from the Imperial Capital, it still has a high level of royal calligraphy style, which should be related to the royal identity of the owner of the inscription, jing yuan. Most of Wei Bei were directly engraved with a knife, and the personal style and techniques of the engraver had a great influence on the final inscription. This can be seen from the seal cutting level of Wei epitaph unearthed. However, in Luoyang area, no matter the inscription on the Longmen statue or the epitaph of the royal family, the font is relatively mature and there is a relatively unified standard, which is called "Luoyang style". [ 1]
(2) Explore the style of stone carving.
1. Comparison of book styles in the same period
Epitaph of Yuan Zhen, Epitaph of Yuan Xianjun and jing yuan Statue are three kinds of inscriptions in the same period. Among them, the Epitaph of Yuan Zhen and the Epitaph of Yuan Xianjun are "Tuoba's" and later changed to "yuanshi county County", which are royal epitaphs, while the grottoes are engraved with the inscription of Yuan Jing's statue. From the perspective of composition, lines and structure. All three belong to "Luoyang style" and belong to a relatively mature category in Weibei. Among them, the inscription of Yuan Jing statue is earlier than the first two, with a little more taste of official script, more antique and magnificent.
2. Comparison of artistic styles
From the artistic style, from the same point of view, the three are the same calligraphy style at the same time, all belong to the royal inscriptions of the Northern Wei Dynasty, and they are all mature weather in the Northern Wei Dynasty. Most of the epitaphs of Yuan Zhen and Yuan Xianjun were written by Fiona Fang. The structure is also tightened in the middle and opened at both sides. Have the momentum of opening and closing.
The composition is also very uniform. The glyph is both beautiful and majestic. There is a great feature in the inscription calligraphy of Yuan landscape statues, that is, "oblique painting follows". His brushwork has the feeling of "Fang Bi official script". Compact structure and open strokes. From this, we can roughly see the inextricable links in the evolution of some calligraphy.
(3) The shape and style of the inscription
Epitaphs are mostly carved on a single brick or stone square material, placed in front of or on both sides of the coffin of the tomb, and some are placed on the beam stone of the inner door of the tomb. The content of epitaph generally includes the place of origin, name, identity, life experience, age, year of death, burial, and the sign or praise of the owner of the tomb. These large numbers of characters have been preserved, leaving valuable information for future generations to study the history at that time and becoming precious cultural relics. Yuan Zhen's epitaph is a stone tablet about two feet wide. Wang Yuanzhen's life story in Nan 'an was recorded, probably because he committed crimes such as "being unable to lead an honest and clean life, helping to publicize the emperor, being insatiable, cultivating wealth in private courts, and committing adultery in prison ...", and was deprived of his title and imprisoned for life. That's why there are only 300 words of introduction. When it comes to the shape of epitaph, we have to mention Yuan Xianjun's epitaph. This record is limestone, 35 cm high, 75 cm long and 56.5 cm wide ... It is the cover of a quadrilateral, pentagonal and hexagonal tortoise shell pattern, engraved with a negative pattern, and the central part of the tortoise shell is engraved with the words "epitaph of Wei". The bottom is engraved with 19 line 2 1 word * * * 357 words. The combination of Zhigao and Wenzhi is just a vivid and complete stone turtle, whose head, tail and four legs are complete. Make the epitaph into a turtle shape symbolizing longevity, and pray that the tomb owner will stay in Jiuquan forever. This form is only seen in the epitaphs of the Northern Wei Dynasty, and rarely appears in later generations. Then why is there such a shape? We might as well know about Yuan Xianjun's life. He was born in 499, but died young at the age of 13. Said he was talented, rich and handsome. Probably his parents want to pray for his afterlife. Make such a unique epitaph shape. [2]
(4) Explore the background of the times.
The Northern Wei Dynasty was founded by the Xianbei Tuoba ethnic minority, and it was also the first political power established in the Northern Dynasty during the Southern and Northern Dynasties. First, the country was established, and then the country name was changed to "Wei". So there was what we later knew as the Northern Wei Dynasty. Later, the Tuoba nationality unified the north. After Tuoba Silicon succeeded to the throne, he began to learn Chinese culture, learn from Han people to be emperors, and use the etiquette of emperors. Reuse Han Chinese officials. Use Chinese characters. And set up schools to recruit students to learn the four books and five classics.
However, the Northern Wei Dynasty in the Southern and Northern Dynasties was an extremely special dynasty, but its ethnic integration was different from any dynasty. They not only consciously, actively and consciously integrated with the Han nationality, but also regarded ethnic integration as a political event. Therefore, after the Northern Wei claimed to be the Yellow Emperor, it was an orthodox dynasty, and national integration was a kind of decree integration, that is, compulsory integration; In other words, integration means integration, and integration means non-integration. No one has the right to choose. Therefore, its rapid integration, wide integration scope and thorough integration have a far-reaching impact on society, which is unprecedented. Their integration not only healed the trauma of the Sixteen Countries Rebellion, but also changed the nature of the country and nation in the Northern Wei Dynasty, which was great for the Sui and Tang Dynasties.
Unity and prosperity have created conditions and promoted the formation and development of the Chinese nation. It is also a great fusion of north and south cultures. This is why there are so many poems and songs in the future. There are exquisite and delicate Han people and uninhibited nomadic people. The most admirable thing about Xianbei people is the culture that can be accepted from top to bottom, especially when the royal family changed their surname to Yuan. Only this time, it has promoted the great integration of culture and politics.
Third, the influence on contemporary calligraphy.
(A), the impact on contemporary calligraphy
Wei, Jin, Southern and Northern Dynasties is the first peak of regular script development, and Yuan Zhen's epitaph is one of them that can't be ignored. Weibei discovered it earlier. It has been passed down from generation to generation. In the Tang Dynasty, we can also get a glimpse of the calligraphy of Chu Suiliang and Yan Zhenqing. Then why didn't Wei Bei prosper until the Qing Dynasty? Here, I have summarized the following points: 1, influenced by the calligraphy of the Jin Dynasty. People were keen to learn from Wang Xizhi at that time. Although some people learn from Wei Bei, it's just a personal hobby, no one studies it systematically, and there is no learning atmosphere. 2. The imperial examination system is becoming more and more perfect, and the characters in the imperial examination require dignity, beauty, standards and norms. It is no exaggeration to say that it is like printing now. However, the only way for ancient literati to be officials was scientific research. Therefore, it limits the play of calligraphers. It was not until the Jiaqing period of the Qing Dynasty that the textual research of epigraphy rose, and a large number of inscriptions in the Southern and Northern Dynasties were unearthed. And people at that time wanted to break this situation. So there was an upsurge of learning from Wei Bei. Weibei has distinctive characteristics, and because it is an inscription, everyone can play freely. Break the previous "large-scale" calligraphy learning form. Wei Bei was magnificent and natural, which was more in line with the aesthetics of calligraphers at that time.
With the development of calligraphy today, many people are proud of how many exhibitions they have participated in. Calligraphy has become a tool for some people to pursue fame and fortune. Whoever wins the prize for his calligraphy works will become the object of study. The judges' aesthetics determines the artistry of calligraphy. Became a leading figure in calligraphy. This gives others a subconscious thought that this is good and limits the development of free creation. Then there are a lot of styles that pay too much attention to calligraphy in order to cater to the public aesthetics. The aesthetic features of Wei Bei's calligraphy have become the direction for calligraphers to take French calligraphy. However, in order to be unconventional, some calligraphers try their best to make a fuss about glyphs, brushwork, brushwork and composition, and use them at will to deal with the deformation and dislocation of fonts, thus breaking the elegant style of traditional literati, making calligraphy fonts distorted and weird, reflecting extraordinary aesthetic feeling. [3] Is this the old Wei Bei? I don't think so. We can't stick to the rules, but we can't exaggerate. We can't throw away the quaint flavor of Weibei just because it can play freely.
(B), the impact on themselves
20 15 I have been in contact with calligraphy for more than four years. I like this art from the beginning, although I haven't studied it for a long time compared with others. However, Epitaph of Yuan Zhen, as the first Wei Bei I studied, wanted to use it as a regular script for my graduation. I think I still have some experience. In this process, it is not enough to just pursue the heroic spirit of opening the stone. If you don't master it well, it's easy to become rigid. You can't pursue the exquisite and beautiful book style too much, and you will lose momentum. What I have learned so far in Yuan Zhen's Epitaph is that in the creation, we should not only pay attention to the extended words, but also have the contracted words to echo them and form a block.
Also pay attention to the shade and dryness of ink. The composition also learned the words of Yuan Zhen's epitaph. At present, the whole control cannot be well controlled.
label
Yuan Zhen's epitaph, as an important representative of the blending of North and South cultures, is also the representative of Mangshan style, and it is the oldest in Weibei. Modern scholars mostly study its artistic classification. Or study with Weibei at the same time. If there are more, such as inheritance and modeling, it will be more complete. In the process of learning, we should also observe carefully. Everyone in Weibei sees something different, but the essence has not changed. The most important thing is its simplicity and natural beauty. In any case, we can't lose this.