Qin Langya Taiwan Province Stone Carving Atlas
China's calligraphy art began in the generation stage of Chinese characters. "Voice can't spread in different places, but stay in different times, so words were born. Writer, so it is the trace of Italian sound. " As a result, words came into being. The earliest works of calligraphy art are not words, but some descriptive symbols-hieroglyphics or picture words. Symbols depicting Chinese characters first appeared on pottery. The primitive depiction symbol only represents a rough concept of chaos and has no exact meaning. More than 8,000 years ago, magnetic mountain culture, Fiji and Khan Lee cultures appeared in the Yellow River Basin. There are many symbols on the handmade ceramics unearthed in Fiji and Khan Lee, which are the chaotic combination of the communication function, note-taking function and pattern decoration function of the ancestors. Although these are not real Chinese characters, they are indeed the embryonic forms of Chinese characters. Immediately after the Banpo site of Yangshao culture about 6000 years ago, some painted pottery with similar characters were unearthed. These symbols are distinguished from patterns, which promotes the development of Chinese characters. This can be said to be the origin of China characters. Then Erlitou culture and Erligang culture. In the archaeological excavation of Erlitou culture, there are 24 kinds of marked pottery pieces, some of which are similar to Oracle Bone Inscriptions in Yin Ruins, and all of them are single independent characters. Erligang culture was found to have a writing system. Three bones with words were found here, two with words and a cross, which seemed to be carved for practicing lettering. This has made civilization take another big step forward.
The origin of primitive characters is an imitation instinct, which is used to visualize a specific thing. Although it is simple and chaotic, it already has a certain aesthetic taste. This simple writing can therefore be called prehistoric calligraphy.
Qin dynasty
Qin Xiaozhuan's Atlas of Yishan Stone Carving
During the Spring and Autumn Period and the Warring States Period, there were great differences in languages among countries, which was a major obstacle to economic and cultural development. After Qin Shihuang unified the whole country, Minister Li Si presided over the unification of the national characters, which was a great achievement in the cultural history of China. After the unification of Qin Dynasty, this script was called Qin Zhuan, also known as Xiao Zhuan, which was simplified on the basis of Jin Wen and Shi Guwen. Li Si, a famous calligrapher, presided over the compilation of Xiao Zhuan. Li Si wrote the stone carvings of Mount Li, Mount Tai, Langya and Huiji. All previous dynasties have a very high evaluation. Qin is a period of change of inheritance and innovation. The preface to Shuo Wen Jie Zi says: "Shu Qin has eight styles, namely, big seal, small seal, seal cutting, insect book, copy, official book and official book." It basically summarizes the face of the font at this time. Li's seal script was harsh and inconvenient to write, so official script appeared. Official script is a victory of seal script. Its purpose is to facilitate writing. During the Western Han Dynasty, official script changed from seal script to official script, and its structure changed from vertical to horizontal, with more obvious lines and waves. The appearance of official script is a great progress of China characters and a revolution in the history of calligraphy, which not only makes Chinese characters tend to be square, but also breaks through a single center in brushwork, laying the foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are also handwriting such as imperial edict, weight, tile and coin. In the Qin dynasty, the style was very different. Calligraphy in Qin Dynasty left a brilliant page in the history of calligraphy in China, which is a pioneering work.
Western Han Dynasty and Eastern Han Dynasty
Calligraphy in Han Dynasty can be divided into two forms: one is the mainstream system of stone carvings in China; One is tile seal, and the other is bamboo and silk alliance calligraphy and ink. The Monument to Yun Qi in the Later Han Dynasty is a symbol of Han Li's maturity. Among the cliff stone carvings (words carved on cliffs), Ode to Shimen is the most famous, and calligraphers regard it as a "masterpiece". At the same time, Cai Shark's "Jia Jing" reached the requirements of restoring ancient ways to Li and opening a tire. Inscription is the most important art form reflecting the times and phonology, among which Feng Longshan, The Story of the Western Chamber, Kong Zhou, Yi Ying, Chen Shi, Zhang Qian and Cao Quan are especially admired and imitated by later generations. It can be said that each monument is unique and has no similarities. The northern book is magnificent, while the southern book is simple, which embodies the different aesthetic pursuits of the "scholar" and "vulgar" classes. As for the tile seal and the simple silk script, it embodies the combination of artistry and practicality. The prosperity of calligraphy art began in the Eastern Han Dynasty. Calligraphy theory's works appeared in the Eastern Han Dynasty, and the earliest calligraphy theory author was Yang Xiong at the turn of the Han Dynasty. The first calligraphy theory monograph was a cursive script written by Cui Yuan in the Eastern Han Dynasty. Calligraphers in the Han Dynasty can be divided into two categories: one is calligraphers in the Han Dynasty, represented by Cai Yong. First, cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi, were later called "Cao Sheng". Bamboo slips calligraphy can best represent the characteristics of calligraphy in Han Dynasty. There are many inscriptions in the Eastern Han Dynasty. The inscriptions in this period were carved by Han Li, with square fonts, strict statutes and clear waves. At this time, the official script has reached its peak. The creation and birth of cursive script in Han dynasty is of great significance in the history of calligraphy art, which indicates that calligraphy has begun to become an art that can express emotions and express calligraphers' personality with high freedom. The primary stage of cursive script is cursive script. In the Eastern Han Dynasty, cursive script developed further and formed Cao Zhang. Later, Zhang Zhi founded modern calligraphy, namely cursive script.
three kingdoms period
The Eastern Jin Wang Xizhi Kong Shizhong post atlas
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.
In the Jin dynasty
In the Jin Dynasty, elegance and quality were advocated in life, and the beauty of moderation and simplicity was pursued in art. Calligraphers came forth in large numbers, and bamboo slips were the two kings (Wang Xizhi. Wang Xianzhi) Yan Fang's exquisite artistic taste caters to the requirements of literati, and people increasingly realize that writing has aesthetic value. Wang Xizhi, the most representative of the spirit of Wei and Jin Dynasties, is the most influential calligrapher in the history of calligraphy 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", and critics say that his writing style is like a cloud and agile as a dragon. His son's "Ode to Luo Shen" is magnificent, creating a "broken style" and "a book", which is 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 "Three Wishes", namely "Yuan Bo Tie", "Sunny Tie in Fast Snow" and "Mid-Autumn Festival Tie".
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 opening to the south, the north people and the south soil, and the north glory and the south show. For example, the masterpiece of the North-South School is the crane inscription in Nanliang. 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, and this book is anonymous. Therefore, calligraphy is called "the sage in the book", and the northern writer is Wang Youjun.
calligraphy from the sui dynasty
Atlas of epitaphs of Sui people
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. Most of the inscriptions left by the Sui Dynasty are authentic, which are divided into four styles: 1: Pinghe, such as Ding Daohu's Qifa Temple Monument, etc. 2. Dong's Epitaph and other strict prescriptions; 3. Profound and mellow, such as "Daming, a monk"; 4. Xiulang is as exquisite as the "Longzang Temple Monument".
Calligraphy in Tang dynasty
Tang, Yan Zhenqing, paid homage to his nephew.
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. In the early Tang Dynasty, the national strength was strong, and calligraphy broke away from the legacy of the Six Dynasties. Ou Yangxun, Yu Shinan, Chu Suiliang and Xue Ji are the mainstream of calligraphy. The general feature is that the structure is rigorous and tidy, so there is a saying that "the Tang Dynasty is heavy", which was once honored as "the crown of calligraphy" and extended to the Tang Dynasty. Combining Confucianism and Taoism, Li Yong changed the right army to be unique. Zhang Xu and Huai Su pushed the cursive performance to the extreme with their drunkenness, while Sun Caoshu was good at being elegant, so he tried to create reality. Yan Zhenqing, on the other hand, absorbed the ancient law from the new ideas and bred new methods from the old ones. 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" did not show a large scale in the Five Dynasties, but it had a great influence on 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. In the late Tang Dynasty, there were Wang Wenbing's seal script, Li E's regular script and Yang Ningshi's "Two Kings Yan Liu" aftertaste.
Song's words
Song, Huang Tingjian, Song Fengge Poetry Volume Atlas
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 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, so that the learning atmosphere is gloomy and sandy between pen and ink, giving people a new aesthetic mood, which was in 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.
Ming and Qing dynasties
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. At the end of the Ming Dynasty and the beginning of the Qing Dynasty, the atmosphere of wild pen and ink, wild and uninhibited, and cynicism continued further. The works of Fu Shan and others still show their inner life and an irresistible emotional expression. This point reappeared in the mid-term "Yangzhou Eight Eccentrics". Only Badashan people found the way of communication between man and the universe in silence, and their paintings and calligraphy became the pinnacle of maverick and unparalleled. At the same time, the post-school system was further developed in the late Ming Dynasty. Jiang, Zhang Zhao, Liu Yong, Liang Tonghe, Weng Fanggang, etc., on the basis of respecting tradition, either wrote in light ink or changed the structure of the rules and regulations, trying to show a new look. 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 to study the textual research of stone carvings. At one time, there was a great demand for epigraphy in the ruling and opposition parties, which eventually became a democratic trend of thought in the calligraphy circle of the Qing Dynasty. In addition, Ruan Yuan, Bao Chen Shi, Kang Youwei, etc. vigorously publicized that stele study exists as a calligraphy system, which competes with calligraphy study. From the Qing Dynasty to the Republic of China, to modern famous calligraphers such as Jin Nong, Deng, He, Zhao, Wu Changshuo, Kang Youwei, Huang, etc. , are written and painted with rubbings, reaching the maximum rationality. A dazzling situation.