In which dynasty did China's calligraphy and painting originate?

After painting and calligraphy, the painter should add a cymbal seal in addition to his signature to show that the painting and calligraphy are indeed his own. But because the book is painted with a bell, it is difficult to test at the beginning. What is certain is that the paintings and calligraphy of Wei, Jin, Southern and Northern Dynasties have no imprint, and the imprint is used to cover the mud. I only saw seals in calligraphy in the Tang Dynasty, but not in painting at present. For example, there is a seal on the word "Ji" at the end of Sun's Preface to Book Spectrum, but it is hard to argue. I wonder if this is Sun Shi's own seal. There are more seals on paintings and calligraphy in Song Dynasty than in Tang Dynasty. The book has the seals of Su Shi, Huang Tingjian, Mi Fei, Wang, Wu Ju and Zhao. Guo, Wen Tong, Zhao Lingrang, Yang Wuxia, Zhao et al. There are seals on paintings and calligraphy since the Yuan and Ming Dynasties, but Ni Zan's works after middle age have no seals, only in Lu Jishan's Copy and Postscript (at the age of 42), Shuizhuju (at the age of 43) and Little Mangosteen Tree. Ming Dong Qichang painted cymbals and cymbals. It is said that all his proud strokes are unmarked. At the same time, in the content of seals, the Ming dynasty also had new development compared with the previous generation. Since the early Ming Dynasty, in addition to the name and font seals, there have been more and more idle chapters in the book circle, such as Elvis Presley's Game Handwriting, Yao Shou's T-shaped seal of Xia Zibi Moon Weng, Wen Zhiming's mid-term Stop the Clouds Pavilion, Tang Yin's The First Scholar in the South of the Yangtze River, and Xie Yuan in Nanjing, etc. What is striking is that some professional painters in court painting, under the influence of literati painters and calligraphers, began to pay attention to the elegance of pen and ink. They not only have considerable accomplishment in literature and calligraphy, but also attach great importance to the use of seals, especially the engraving of leisure chapters. Such as the "spontaneous" position at the beginning of the week. Guo Guo's scrolls of "Fragrant Jade Dew" and "Green Landscape" have no titles, only the seals of "Guo Wen Tong Yin" and "Fragrant Jade Dew". Zhuo Di's Picture of Xiucun has a long seal of "Qing Yue Zhai" at the beginning, and the next paragraph of the picture has three seals of "Praising a Good Family", "Drinking in a Drunk Place" and "Fengchi Qingqu". Some authors' seals are engraved with titles or other written contents enshrined by the court, from which we can know the identity of the authors. Emperors of the Ming Dynasty also often awarded books to their ministers. For example, when Xuande was proclaimed, Sun solemnly wrote a book on flowers, birds and cordyceps. Before the book was opened, there was a seal of "Kongtong Site" on the tree, on which the word "Qin Ci" was written. When Hongzhi kicked off the "painting champion" when it was printed, Xiaozong called Zhong an "old fairy on earth", so Zhong carved this sentence into a casual chapter. When Zheng De gave Zhu Rui a "handful of firewood" for book printing, Zhu Rui named himself a handful of firewood. All the above situations became popular in the court and became a common practice, forming a remarkable feature in the imprint of painters and calligraphers in the Ming Dynasty.

The use of seals in paintings and calligraphy in Qing Dynasty was more common than that in Ming Dynasty. After the middle of Qing dynasty, almost all styles were printed together, and few of them were not printed with cymbals. It is ok for a painter to sign a calligraphy and painting without a signature, but he can't stamp it without a cymbal.

Most of the calligraphy is carved in the middle of the line, and a few people put the "first" seal before and after the first line. There are fewer letters printed in the clock. In the Northern Song Dynasty, people were obsessed with dates, and then with names. In the Ming Dynasty, there was a book with a white passbook, which was called "Vice Contract", with a "name thorn" (single post) in front, and the writer sealed the name between the "name thorn" and the "Vice Contract".

Most of the parts engraved on the painting with inscriptions are engraved under the inscriptions, and the word "beginning" is also printed. There is another seal in front of the hand scroll, and the hanging shaft and album are stamped with "pledge angle" at the left and right corners; Money-free hand-rolled cymbals are in the front and back of the picture, hanging shafts or picture book trees are in the lower left corner and the lower right corner, and there are cymbals instead of money in the upper gap.

For other long scrolls of calligraphy and painting, where more than two pieces of paper need to be connected together, the author often sews up the paper and seals it. This is called riding seam sealing, but it is not absolute, and some are not.

The authenticity of the writer's seal shows the reliability of calligraphy and painting. The reliable way to identify the writer's seal is to check. How to check? First, take the seal that has been identified as true as a template, and check it with the seal to be identified from the aspects of seal size, seal cutting method, twists and turns of strokes, fat, thin, white or Zhu Wenlai. If it is exactly the same as the template, it is true, and it is not uncomfortable at all. If there is any discrepancy, it is false. However, this inspection method has different attitudes and principles.

As mentioned above, few paintings and calligraphy works before the Song Dynasty were stamped with the painter's own seal, and most painters did not stamp their own seals on their works. The characters on the seal are mostly small seal script, and the printed shapes are rectangle, square, circle, ellipse, gourd shape and so on. It was not until the Song Dynasty that strange Zhong Ding shapes appeared. Judging from the effect of strokes printed by seals in Tang and Song Dynasties, most of the printed materials are copper, teeth and jade, and a small amount are other materials. The materials of copper, tooth and jade are hard, so most of the printed strokes are dull, smooth and dull. In order to appear on the paper silk, the seal should be printed in color. As can be seen from the calligraphy and painting works handed down from generation to generation, honey prints or white water were mostly used in the Tang and Five Dynasties, which we call watermarks, which are easily blurred and distorted when engraved. Mimeograph began in the early Song Dynasty, and then developed further based on Ai Rong, but I don't know when it started.

Most of the characters on seals in Yuan Dynasty like to use Xiao Zhuan, but the seal script and engraving method have changed, and a round Zhu Zhuwen seal has appeared. The printed materials are water, ivory, copper, jade and so on. Watermark almost disappeared in the yuan dynasty, which can be said to be useless. Most of them are mimeographed, and the printing color is mainly red, with crimson and purple, which can be seen occasionally.

Weng Fanggang studied Zhao's original works in Yuan Dynasty in Qing Dynasty, and every time he read them, he had to check their seals. The top of the red copper seal of "Zhao Ziang" is uneven, and the top of the seal ring of "Zi" clings to the copper edge, inclining to the left and right, and all the marks are slightly concave. In order to identify Evonne, this is foolproof. Today's seal with the word "Zi" is slightly concave on the right side of the top edge and flat on the left side. Copper has just been used for a long time, and it has been used for several years before.