Why is the Tang Dynasty the key to the whole history of calligraphy in China?

In the Tang Dynasty, calligraphers came forth in large numbers and calligraphy flourished. Calligraphy in Tang Dynasty inherited Wei and Jin Dynasties, and opened in Song Dynasty later. It vividly shows the brilliant achievements and unique charm of China's calligraphy art, and pushes China's aesthetic spirit to a new height. Looking at the calligraphy situation in the Tang Dynasty, we can easily find that different historical periods have different calligraphy styles and aesthetic concepts. We also deeply feel that in the diachronic process of the development of calligraphy aesthetics in the Tang Dynasty, the subject spirit of calligraphy artistic creation also experienced a shift and change process from weak to strong. China's calligraphy art and calligraphy theory reached the second peak in the Tang Dynasty, and many calligraphers and calligraphers appeared in history, which created a new trend in the Tang Dynasty. There are more than 180 calligraphers with records and names. According to Ma Zonghuo's records, there are as many as 245 people who can write in Lin Shu's Creation, but a large number of unknown folk calligraphers are not among them. Although these two figures are not completely consistent, they illustrate the prosperity of calligraphy art in Tang Dynasty. Why is the Tang Dynasty more developed, prosperous and prosperous in calligraphy art than the Jin Dynasty, which is the first in history? I think the following reasons are obvious. 1. The politics, economy, culture and art of feudal society reached its peak. From 6 18 AD, Tang Gaozu Li Yuan unified the world and established Chang 'an as its capital until his demise in 907 AD. The Tang Dynasty is an extremely important period in the history of China's calligraphy, which inherited the Han, Wei and Six Dynasties and started the Song, Yuan, Ming and Qing Dynasties. Calligraphy reached its peak with the development of politics, economy and other cultural arts in feudal society. The peasant war at the end of Sui Dynasty severely hit the rule of the landlord class and promoted the development of social productive forces. In particular, during the reign of Emperor Taizong and Li Shimin, the rule of Zhenguan quickly restored the feudal order and made great achievements in politics and military affairs in the Tang Dynasty. In short, the Tang Dynasty was characterized by "martial culture" and enlightened politics, and it was the peak of political, economic and cultural prosperity in feudal society. Lenin said: "Politics is the concentrated expression of economy". It is precisely because of the economic development of the Tang Dynasty that it greatly surpassed the level of the previous generation. Now, with the advocacy and attention of the emperor, the supreme feudal ruler, China's calligraphy art and calligraphy theory have reached a new level. "Jiangshan produces talents, each leading the way for hundreds of years." After the first development peak of calligraphy art in Jin Dynasty and calligraphy theory, the second development peak of calligraphy art in Tang Dynasty and calligraphy theory appeared. It can be divided into two periods, from the founding of the Tang Dynasty to the reign of Emperor Xuanzong of the Tang Dynasty. He established the orthodox position of the "two kings" of calligraphy. Famous calligraphers include Yu Shinan, Chu Suiliang, Xue Ji, Wang Zhijing and Sun. Later, from Kaiyuan to the demise of the Tang Dynasty. Emperor Xuanzong of the Tang Dynasty was good at "Eight Points", and his calligraphy style gradually changed, and famous calligraphers such as Yan Zhenqing, Xu Hao, Liu Gongquan, Li, Zhang Xu and Huai Su appeared. At the end of the Qing Dynasty, Ma Zonghuo commented in Lin Zao Ji: "The prosperity of calligraphy in the Tang Dynasty is no less than that in the Jin Dynasty." "Zhou takes books as teaching imitation, Han takes books as imitation, and Jin takes books as imitation. Calligraphy research was established from the Tang Dynasty. At the end of the Tang Dynasty, calligraphers came forth in large numbers. " 2. Calligraphy education is a system and one of the "four talents" criteria for selecting officials. Four talents are the criteria for selecting government officials, which refer to calligrapher, calligrapher, Shu Ming and bachelor of book service respectively. The "calligrapher", namely the teacher, was established as a system in the Tang Dynasty. Among the six institutions of higher learning affiliated to imperial academy, one is calligraphy. Calligraphy is one of the six subjects in the imperial examination in Tang Dynasty, and it is called "Shu Ming". The Tang government also set up special official posts for calligraphers. There was a "Bachelor of Calligraphy" beside the emperor, and Yu Shinan, Chu Suiliang and Liu Gongquan, masters of calligraphy in the Tang Dynasty, successively held this position. During the twenty-three years of Zhenguan rule, Li Shimin, Emperor Taizong, not only personally wrote Ode to Wang Xizhi, but also established Wu Xizhi's lofty position in calligraphy. He also went abroad to collect Wang Xizhi's ink, and allowed to set up a Hong Wen Pavilion to spread calligraphy. In the first year of Zhenguan, Emperor Taizong issued imperial edicts to all Beijing officials on the job, whether they were civil servants of Wu Zhi, as long as they were interested in learning calligraphy, had a slightly good brushwork and had potential for development. They were all allowed to attend calligraphy lectures in Hong Wen Pavilion, and Ou Yangxun and Yu Shinan were responsible for teaching calligraphy, which greatly promoted their learning style. Thus, Li Shimin of Emperor Taizong had a great influence on the development of calligraphy. Ou Yangxun, Yu Shinan and Chu Suiliang, the great calligraphers in the third grade, also played an active role in the integration of North and South calligraphy styles, which made a new style of calligraphy in the Tang Dynasty. 3. Empresses and concubines of the emperor like calligraphy, and many civil servants and military commanders are highly accomplished in the art of calligraphy. There were twenty-two masters in the Tang Dynasty, eleven of whom were famous calligraphers, and concubines mainly included Dou Hou and Wu Hou. Among the kings and princesses, there are mainly Hanwang Li Yuanchang and korean king Li Yuanjia. Chen Si's "A Brief History of Books" said that Tang Gaozu Li Yuan was "generous in nature, good at books, especially at grass, hardworking and sick, and charming and lovely in words." This book claims that Li Shimin, Emperor Taizong, was clever, ambitious, well-read and good at writing. Li Shimin said, "The official script is flying white, and the grass is the second king, especially the ancient posts, which are almost realistic; At the beginning of Zhenguan, I was determined to play the original work of the right army and buy all my manpower. " Li Shimin asked his lieutenants to "buy Wang Xizhi's calligraphy with gold and silk, and the world will compete for ancient books." "On the eighth day of the first month of the sixth year of Zhenguan, life was neat and tidy, and Zhong Wang and other original works of the Forbidden City got 1,510 volumes." In the early Tang Dynasty, due to economic development and political stability, the emperor loved and advocated calligraphy, established calligraphy education institutions, and regarded calligraphy as one of the criteria for selecting officials. Therefore, many civil servants and military commanders have high artistic attainments in calligraphy. Such as, Yu Shinan, Chu Suiliang, Xue Qi, Yan Zhenqing, Liu Gongquan, Zhang Xu, Huai Su, Li Yong and Li. In the Tang Dynasty, in 290, there were more than 100 civilian military commanders who were not famous for their calligraphy, and their accomplishments in calligraphy art were all very high. 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 in the Tang Dynasty than in the previous generation, and a large number of inscriptions left precious calligraphy works, which are the artistic treasures of our Chinese culture. Leave it to us to explore, and research has become the essence of our Chinese nation. This is the mission of our future generations, and it is urgent.