History of Chinese calligraphy

History of Chinese calligraphy

The history of Chinese calligraphy has gone through a long process. Calligraphy is a unique art in China. Although the self-consciousness of calligraphy art did not occur until the end of the Eastern Han Dynasty, the art of calligraphy was at the same time as the emergence of Chinese characters. The formation of Chinese characters has gone through a long historical period. The materials related to original Chinese characters discovered so far are the earliest ancient Chinese characters in China recognized by academic circles. They are oracle bone inscriptions and bronze inscriptions from the middle and late Shang Dynasty (approximately 14th to 11th century BC). From the late Shang Dynasty to the unification of China by the Qin Dynasty (221 BC), the general trend of the evolution of Chinese characters was from complex to simple. This evolution is specifically reflected in the evolution of fonts and glyphs. In the late Western Zhou Dynasty, bronze inscriptions tended to be linearized, and during the Warring States Period, folk cursive seal scripts developed into ancient official scripts, which greatly weakened the pictographic nature of the characters. However, the artistry of calligraphy has become increasingly rich with the evolution of calligraphy styles

Pre-Qin calligraphy

(Picture) Oracle bone inscriptions

Pre-Qin calligraphy that laid the foundation for Chinese calligraphy

Calligraphy is a unique art in China. Although the art of calligraphy did not become conscious until the end of the Eastern Han Dynasty, the art of calligraphy was at the same time as the emergence of Chinese characters. The formation of Chinese characters has gone through a long historical period. The materials related to primitive Chinese characters that have been discovered so far are mainly the carved symbols left on pottery from primitive society. However, many philologists believe that they are not characters yet, but only played a role in triggering the emergence of primitive characters. Most philologists believe that "the formation of Chinese characters was probably no earlier than the Xia Dynasty" and that "a complete writing system was formed during the Xia and Shang Dynasties (about the 17th century BC)" (Qiu Xigui's "Outline of Philology").

The earliest ancient Chinese character materials in China recognized by academic circles are oracle bone inscriptions and bronze inscriptions from the middle and late Shang Dynasty (approximately 14th to 11th century BC). Examined from the perspective of calligraphy, these earliest Chinese characters already possess many factors of the formal beauty of calligraphy, such as the beauty of lines, the symmetry of single character shapes, the beauty of changes, the beauty of composition, and the beauty of style. From the late Shang Dynasty to the unification of China by the Qin Dynasty (221 BC), the general trend of the evolution of Chinese characters was from complex to simple. This evolution is specifically reflected in the evolution of fonts and glyphs. In the late Western Zhou Dynasty, bronze inscriptions tended to be linearized, and during the Warring States Period, folk cursive seal scripts developed into ancient official scripts, which greatly weakened the pictographic nature of the characters. However, the artistry of calligraphy has become increasingly rich with the evolution of calligraphy styles.

Introduction to the main works

Yin oracle bone inscriptions of the Yin and Shang dynasties (carved inscriptions on cattle bones painted with vermilion for sacrificial hunting)

Oracle bone inscriptions were discovered in 1899 (Guangxu period of the Qing Dynasty) twenty-five years). It is a text written on turtle bones, animal bones, and human bones during the Yin and Shang Dynasties to record divination, sacrifice, and other activities. It is an ancient Chinese character that has been processed by witchcraft history. Strictly speaking, only when it comes to oracle bone inscriptions can it be called calligraphy. Because oracle bone inscriptions already have the three basic elements of Chinese calligraphy: pen use, word knotting, and composition. However, not all previous pictorial symbols have these three elements. The picture shows "Inscriptions on the Bones of Ox Bones Painted with Vermilion for Sacrificing Hunting", a work from the Wu Ding period of the Shang Dynasty. The style is bold and bold, with the fonts and sizes scattered, vivid and unique, each in its own way, full of variety and natural. It is worthy of being a masterpiece of oracle bone calligraphy.

Inscriptions on the Western Zhou Dynasty's Great Menu Tripod

(Picture) A poem by Zheng Xie and Li Bai Changganxing

The Great Menu Tripod is a famous bronze ware from the Kangwang period of the Western Zhou Dynasty. It has an inscription on the inner wall. The inscription is 291 words long, which is rare among Western Zhou bronzes. The content is: King Zhou warned Yu (name) that the Yin Dynasty died of drunkenness, while the Zhou Dynasty prospered by avoiding alcohol. Ming Yu must try his best to assist him and respect the virtues of King Wen and King Wu. Its calligraphy style is rigorous, the shape and layout of the characters are very simple and plain, and the brush strokes are both square and round. It has a solemn and solemn artistic effect. It is a representative work of gold calligraphy in the early Western Zhou Dynasty.

The Maogong Ding Inscription of the Western Zhou Dynasty

It is one of the most famous bronze vessels of the Western Zhou Dynasty. It was made during the reign of King Xuan of the late Western Zhou Dynasty. A long inscription of up to 498 words is cast on the inner wall. The content is that in order to revitalize the Zhou Dynasty and eliminate the long-standing evils, the King of Zhou ordered his important minister Mao Gong to assist the King of Zhou loyally to avoid the disaster of losing the country, and gave him a large number of items. In order to thank the King of Zhou, Mao Gong specially made a tripod. Its matter. His calligraphy is a mature style of Western Zhou Dynasty bronze inscriptions, with a well-proportioned and accurate structure, strong and steady lines, well-organized layout, and full of rational color, showing that bronze inscriptions have developed to an extremely mature level.

Western Zhou Dynasty

It is a bronze ware from the period of King Li in the late Western Zhou Dynasty. Its inscription structure is very ancient, with round and concise lines. Because of its horizontal position and low center of gravity, it looks more simple and thick. . It has a strong sense of "casting" and expresses a strong "gold flavor", so it occupies an important position in the system of stele studies.

Hu Xiaoshi, a famous modern calligrapher, commented: "The seal script has been greatly prepared since the Zhou Dynasty, and its large instruments are such as the Yu Ding, Maogong Ding, ... the characters are knotted and vertical, and the only horizontal one is the Sanshi Pan.

Eastern Zhou Dynasty

There are ten stone drums carved from the Qin State during the Warring States Period, each shaped like a drum. Each stone drum is engraved with a four-character poem in Zhiwen. , the contents of which are about the hunting expeditions of the King of Qin, so the stone drum is also called the Hunting Jie. The handwriting is very worn, and it is now in the Palace Museum in Beijing. It plays an important role in the history of calligraphy. The font is a typical calligraphy style of the Qin Dynasty, and had a great influence on the later emergence of Xiaozhuan in the Qin Dynasty. At the same time, its own artistic achievements are also very high. Its structure is square and even, stretched and generous, the lines are full and round, and the brushwork is strong. There are no traces of pictographic drawings in the lines of "Shiguwen". It is entirely a symbolic structure composed of lines.

Qin Dynasty calligraphy

(Picture) Part of "Pingfu Tie"

During the Spring and Autumn Period and the Warring States Period, the writings of various countries were very different, which was a major obstacle to the development of economy and culture. When Qin Shihuang annexed the world, Prime Minister Li Si presided over the unification of the writing system across the country and unified it. This was a great achievement in the history of Chinese culture. .

The writing after the unification of the Qin Dynasty is called Qin seal script, also called Xiao seal script. Extremely high evaluation. The Qin Dynasty was a period of change in inheritance and innovation. "Shuowen Jie Zi Preface" said: "The Qin script has eight styles, one is the big seal script, the other is the small seal script, the third is the carved script, the fourth is the insect script, and the fifth is the insect script. It is called imitation, the sixth is called official script, the seventh is called script, and the eighth is called official script. "Basically summarizes the appearance of fonts at this time.

The emergence of official script is a great progress in Chinese character writing and a revolution in the history of calligraphy. It not only makes Chinese characters more square and upright, but also makes breakthroughs in calligraphy. The single central calligraphy style laid the foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are also other calligraphy works in the Qin Dynasty such as imperial edicts, Quanliang, Wadang, and currency. The calligraphy of the Qin Dynasty has different styles in the history of Chinese calligraphy. It has left a glorious page, just like the majestic Great Wall and the spectacular Terracotta Warriors and Horses, it is grand and pioneering and is the crystallization of the infinite wisdom of the Chinese nation.

Main works

Qin Xiang Li Si (?-208 BC), the author of "Taishan Carved Stone", can be regarded as the first recorded calligrapher in the history of Chinese calligraphy. The calligraphy style of "Carved Stone" is Xiaozhuan, the standard font after the unification of the Qin Dynasty. Its structural characteristics directly inherit the characteristics of "Shiguwen", which is more simplified and square than "Shiguwen", and is rectangular, with rounded and smooth lines and even density. Stop, giving people a sense of dignity and stability. Zhang Huaijin of the Tang Dynasty praised Li Si's small seal script as: "The painting is like iron and stone, and the characters are like flying", "The bones are full and round, and the shape is wonderful."

Yun Meng Sleeping Tiger. Qin Bamboo Slips

The "Yunmengsuihudi Qin Bamboo Slips" unearthed in Hubei in December 1975 shocked the archaeological and calligraphy circles and opened the eyes of modern calligraphers. It also provides real Qin Li information for the study of the history of calligraphy. The structure of Qin Li has its own special characteristics of the times, which include both the characteristics of later official scripts and the characteristics of seal script. "Ye", this makes a lot of sense. In the sense of "fast", Qin Jian is written in brush and ink. Only the use of brush and the fast writing of seal script can truly push Chinese calligraphy towards the direction of official script.

Han Dynasty calligraphy

(Picture) Han Dynasty calligraphy

Han Dynasty calligraphy with its flourishing official script

The Han Dynasty lasted from 206 BC to 2 AD The year 20, 426, was a critical generation in the history of the development of Chinese calligraphy. The Han Dynasty was divided into the Western Han Dynasty and the Eastern Han Dynasty. During the three hundred years of the two Han Dynasties, calligraphy changed from Zangzhuan to Lifen, and from Lifen to Zhangcao and Zhen. By the end of the Han Dynasty, Chinese calligraphy styles had been basically complete. Therefore, the Han Dynasty was a critical period in the history of calligraphy, where official script was a commonly used script in the Han Dynasty. Or eight points, not only the writing skills are becoming more and more sophisticated, but also the calligraphy styles are diverse. Liu Xie's "Wenxin Diaolong? Stele" said: "Since the Later Han Dynasty, the number of stele inscriptions has increased. " Therefore, the official script of the Eastern Han Dynasty has entered a stage of proficiency in form and diversified schools. The more than 100 kinds of Han steles left now show a dazzling and brilliant style. As the official script matures, there are also broken styles. The continuous changes and development of the art of calligraphy paved the way for the smooth running cursive and the flying wild cursive of the Jin Dynasty.

In addition, bronze inscriptions and small seal scripts are gradually declining due to their smaller and smaller practical applications. However, they were still used in seals, tiles and jialiang in the Han Dynasty, making seal scripts unique. Kang Youwei once said: "The tiled writings of Qin and Han Dynasties are all clean, strong, square and flat, and the body is also slightly flat. If a scholar can understand the meaning of his brushwork, he can start a family."

Main Works

Mawangdui Silk Calligraphy

Ink handwriting from the late Qin Dynasty and the early Western Han Dynasty. It was unearthed in Han Tomb No. 3 at Mawangdui in Changsha, Hunan in 1973. Including "Warring States Policy Strategist's Letters to the Family", "Laozi" A and B, etc., it is the first-hand material for studying the calligraphy of the Western Han Dynasty. It solves the debate about whether there is official script in the Western Han Dynasty. It is said that there is no official script in the Western Han Dynasty, and there is no official script in the Western Han Dynasty. Arguments such as dividing books are self-defeating. The writing style of "Mawangdui Silk Script" is calm and vigorous, giving people a sense of subtlety and roundness. Its composition is also unique. It is different from simple scripts and stone carvings. It has lines and horizontal lines but no rules, and the length is very free. There is a strong sense of jumping rhythm. Overall, it reflects the character characteristics of the transition from seal script to official script.

Ode to the West

Han Dynasty official script. The full name is "Ode to the West of Hanyang Heyang Li Xixiao, the Governor of Wudu of the Han Dynasty". There are four seal characters "Hui'an Xibiao" on the forehead, so it is also called "Hui'an Xibiao". Carved in June of the fourth year of Jianning (AD 171), it was carved on a cliff in Tianjing Mountain, Chengxian County, Gansu Province. The characters on this stone are ancient, solemn and majestic. The pen is simple and thick, both square and round, and the pen is powerful. Yang Shoujing commented: "It is neat and majestic, with no defects at the beginning or end, which makes it especially valuable." At the end of the inscription, the two characters "Qiu Jing" are engraved, which is the first example of a calligrapher's inscription.

Ode to Puge

Han Dynasty official script on the cliff. The full name is "Ode to Qiaopu Pavilion by Li Xili, Governor of Wudu", which is a companion chapter to "Ode to Xizhao". It was engraved in February of the fifth year of Jianning (AD 172) and was carved in Baiya, Lueyang County, Shaanxi Province. This stone font mostly has the meaning of seal script. The strokes are round and the waves are not obvious. However, the structure of the glyphs is mostly horizontal, with prominent square folds, dense composition, and simple style with a melancholy meaning. Therefore, Wan Jing of the Qing Dynasty once said that the fonts are dangerous and strange. The writing is rough and blunt, but Kang Youwei commented: "I always love "Ode to Puge" because of its dense style. The late Han Dynasty has become a blur, and later generations are ignorant. But Pingyuan (Yan Zhenqing) has a unique composition and style." ("Yan Zhenqing") "Guang Yi Zhou Shuang Ji? This Han Dynasty" shows the influence of this stone on the calligraphy world of later generations.

Zhang Qian Monument

The full name is "Ode to Zhang Junbiao, the Changyin Order of the Han Dynasty". . The inscription was established in the third year of Emperor Ling's reign (AD 186). The font is tight and square and varied, and the brushwork is mainly square and powerful. The inscription on the stele is smooth and natural, which is praised by calligraphers.

Xianyuhuang Stele

The full name is "Xianyujun Stele, the Former Governor of Yanmen in the Han Dynasty". , carved in the eighth year of Yanxi (AD 165), the characters on this stele are wide, flat, rich, and uniform. The pen is thin and strong, with strong bones and flesh, and the angular and square pen is straight. It can be said that it is unequivocal and has set a precedent for the writing style of the Northern Wei Dynasty. But it does not lose its beauty. The whole picture is vigorous and vigorous, with a dense and majestic feeling. It is a rare masterpiece among the Han Dynasty steles.

The official script of the Han Dynasty is called "The Stele of Ceremonial Utensils Built by the Prime Minister Han of the Confucius Temple", so it is also called the "Stele of the Han Imperial Order". It was engraved in the second year of Yongshou (AD 156) in the Confucius Temple in Qufu. The font of this stele is neat and square. The size is well-proportioned, the left and right are regular, and the rules are strict. The writing style is thin and strong, with rich changes in weight and weight. The foot is particularly strong, and the pointed edge is very clear. It is a typical thick and heavy style in Han official script, and the swallow-tail style is extremely calm and elegant. Solemn, elegant and beautiful, this stele was praised by Weng Fanggang as having a great influence on the formation of regular script in the Tang Dynasty. "Yang Ling Cao Quan Stele" was engraved in October of the second year of Zhongping (AD 185) and collected in the Shaanxi Museum Stele Forest in 1956. Among the Han Dynasty, this stele is unique in its beauty, flat and well-proportioned structure, elegant and graceful. The strokes are straight, both long and short, and belong to the same category as "Yi Ying" and "Liu Qi", but the expression is gorgeous and flying, with the attitude of "looking back with a smile and being full of charm", which is really unique among Han Li.

Wei and Jin calligraphy

(Picture) Wei and Jin calligraphy

Wei and Jin calligraphy that completed the evolution of calligraphy

From the perspective of the development of Chinese calligraphy, Wei and Jin calligraphy The Jin Dynasty was an important historical stage that completed the evolution of calligraphy styles. It was a generation in which all styles of seal, official script, and cursive script were perfected. Han Li finalized the basic form of Chinese characters so far.

The process of the emergence, development and maturity of official script gave birth to real script (regular script), while cursive script sprouted almost at the same time as official script was produced. The finalization of real calligraphy, running script and cursive script occurred during the two hundred years of Wei and Jin Dynasties. Their shaping and beautification is undoubtedly another huge change in the history of Chinese calligraphy.

This remarkable era in the history of calligraphy created two majestic calligraphy innovators - Zhong Yao and Wang Xizhi. They opened a new page in the history of the development of Chinese calligraphy. He set an example of the beauty of real calligraphy, running script and cursive calligraphy. Since then, all dynasties and even Japan in the east have learned calligraphy from the patriarchal "Zhongwang". He is known as the "Two Kings" (Wang Xizhi and his son Wang Xianzhi), and even respects Wang Xizhi as the "Sage of Calligraphy". There is also Wang Xun (Xi's nephew) who is good at writing books, and "Bo Yuan Tie" has been handed down.

Introduction to famous representative calligraphers and their works

(Picture) Lanting Calligraphy

Wang Xizhi (303-361)

The word Yi Shao, Langxie was born in Linyi (now part of Shandong). Emperor Huai of the Jin Dynasty was born in the Yongjia year (AD 307) and died in the third year of Emperor Xingning of the Jin Dynasty (AD 367). From official to general of the Youjun, he was an internal history officer in Kuaiji, so he was called "Wang Youjun" in later generations. He was born into a prominent family in the Jin Dynasty. When Wang Xizhi was twelve years old, his father taught him the theory of calligraphy. When he was a child, he learned calligraphy from Mrs. Wei, a famous female calligrapher at the time. After that, he crossed the Yangtze River and traveled to famous mountains in the north, learning from the strengths of others, observing and learning "the methods of gathering many people to prepare a family", and reached the height of "the quality of Guiyue and Yue is the best in ancient and modern times".

Wang Xizhi’s regular scripts such as "Le Yi Lun", "Huang Ting Jing", "Dongfang Shuo Hua Zan", etc. "were very popular in the Southern Dynasties" and had a great influence on later generations. His regular script is known as the "Holy of Calligraphy". Wang Xizhi was an innovator in calligraphy, and his main achievements were in running script and cursive script. His cursive script is respected by the world as the "Sage of Grass". He integrated some of the advantages of brushwork and word formation that were scattered in previous and contemporary calligraphy works into a brand-new calligraphy work.

His main works include: Le Yi Lun: Wang Xizhi's book, small wiping font. The writing style is smooth, radiant, and proportionate to the fat and thin, which is very consistent with the rules of regular script. Zhiyong of the Sui Dynasty called it "the first official book", and Chu Suiliang of the Tang Dynasty also praised it highly.

Huang Ting Jing: small regular script, there is a legend about Huang Ting Jing: There was a Taoist priest in Shanyin who wanted to obtain Wang Xizhi’s calligraphy. Knowing that he loved geese and was addicted to them, he specially prepared a cage of fat and big white geese. As a reward for writing scriptures. Wang Xizhi saw that the goose happily wrote scriptures for the Taoist priest for a long time, and happily "caged the goose and returned". The original text is contained in the "Lun Shu Biao" of the Southern Dynasties. The article states that Wang Xizhi wrote the "Dao" and "De" classics. Later, due to repeated transmission, it became the "Huang Ting Jing". Therefore, "Huang Ting Jing" is also commonly known as "Huang Ge Tie". It has no inscription and is signed "May of the twelfth year of Yonghe (356)". What is left now is only a copy of it by later generations.

Lanting Preface: This text is the preface manuscript Wang Xizhi wrote for their poems on March 3, the ninth year of Yonghe in the Eastern Jin Dynasty (AD 353), when he held a "deed repair" banquet with some literati. ***Twenty-eight lines, three hundred and twenty-four words, perfect in composition, structure, and writing style. It was his proud work when he was thirty-three years old. Later generations commented that "Youjun's font is a change from the ancient method. Its majestic and elegant style comes from nature, so it is regarded as a follower in ancient and modern times." Therefore, calligraphers of all ages have praised "Lanting" as "the best in running script".

Calligraphy of the Southern and Northern Dynasties

(Picture) Calligraphy of the Southern and Northern Dynasties

Calligraphy of the Southern and Northern Dynasties where folk calligraphers showed their talents

After the Jin Dynasty, the Eight Kings Rebellion, the royal family After the internal strife, the power gradually declined. In the north, with the demise of the Western Jin Dynasty. The chaotic period of the "Five Hus and Sixteen Kingdoms" was formed. Later the Tuoba clan ended the Sixteen Kingdoms and established the Northern Wei Dynasty, which promoted relative unification for 149 years. This is the Northern Dynasties. The Jin Dynasty moved eastward until its demise, and it was the Southern Dynasty from 317 AD to 420 AD.

At this time, calligraphy also inherited the style of the Eastern Jin Dynasty, and everyone from the emperor to the common people was very fond of it. The calligraphers of the Southern and Northern Dynasties are as brilliant as the stars, and the unknown calligraphers are the mainstream. They inherited the fine traditions of calligraphy from the previous dynasties and created outstanding works worthy of their predecessors. They also created the necessary conditions for the Tang Dynasty calligraphy to flourish with hundreds of flowers blooming and stars competing for glory.

The calligraphy of the Northern and Southern Dynasties is best represented by the Wei stele. Wei stele is a general term for the stone carving calligraphy of the Northern Wei Dynasty and the Southern and Northern Dynasties that are similar to the calligraphy style of the Northern Wei Dynasty. It is the calligraphy of the transition period from the official script of the Han Dynasty to the regular script of the Tang Dynasty. Kang Youwei said: "All Wei steles, taken from any family, are all complete. If they are combined with all families, they will be beautiful."

Several regular script masters in the early Tang Dynasty, such as Yu Shinan, Ouyang Xun, Chu Suiliang, etc., all directly inherited Zhiyong's brushwork and adopted the method of the Six Dynasties.

Main calligraphers and works:

Zhiyong (Southern Dynasties - Sui and Tang Dynasties)

He is the seventh-generation grandson of Wang Xizhi and a descendant of Wang Huizhi, the fifth son of Wang Xizhi. He is a great calligrapher who strictly abides by family rules. He practices calligraphy very hard. Feng Wu's "The True Story of Calligraphy" said that he lived in Yongxin Temple in Wuxing and did not go downstairs for decades. He copied more than 800 copies of "The Thousand Character Essay" and gave one copy to each temple in Jiangdong. He buried his scrapped pen like a tomb. This is where the allusion later generations said about "returning a pen and turning it into a tomb" comes from here. Dong Qichang of the Ming Dynasty said in his "Essays on Painting a Zen Room" that he studied Zhong Yao's "Declaration Table", "Every time he uses a pen, he must twist and turn, turn back and forth, and finish calmly. It is said that when he writes, he wants to penetrate the back of the paper." He Shaoji of the Qing Dynasty said in his "Thousand Character Essay": "The pen comes from the air and lives from the air. Even though the house has leaks, it is not enough to describe it." We carefully read his ink "Thousand Character Essay", and we can see that he used the pen to hide the head and protect the tail, with twists and turns, implicit and rhythmic interest. What Dong and He said is accurate, specific and appropriate.

His main works include: "Thousand-Character Essay". This is Zhencao's "Thousand-Character Essay" by Zhiyong. It has full lines, flying brushstrokes, and very skilled brushwork and composition skills. Previous people commented on its The book states that "Zhiyong obtained the meat of the right army", which can be confirmed here. His "Thousand-Character Classics in Regular Script" is written with strong brushwork and dignified structure. The starting and ending marks of the strokes are very clear and full of changes in reality and reality. It is very close to the classics written in the Jin and Tang Dynasties, making it easy for beginners to learn.

Representative Works of Wei Stele

1. Monument: Except for Kou Qian’s Songgaoling Temple Stele of the Northern Wei Dynasty, the calligraphy style of the monument contains more official laws and an older style, as well as the Eastern Wei Dynasty’s Respect for the Envoy. The stele is rounder and softer, and except for the bad boy who behaves alone, the others are all good students with rules, stern and straight, and sharp edges, such as the Huifu Temple stele, Gaozhen stele, Zhang Menghu stele, etc.

Cuan Baozi Stele: The Southern Dynasty followed the Jin system and prohibited the erection of monuments, so there are very few inscriptions. However, Yunnan's "Er Cuan" ("Cuan Baozi Stele" and "Cuan Longyan Stele") can be described as brilliant. Stars shine in the night sky. The "Cuan Baozi Stele" was erected by leaders of ethnic minorities in the border areas of Yunnan who were influenced by Han culture and imitated the Han system. This stele was inscribed in the fourth year of the Eastern Jin Dynasty (405 AD).

The script is regular script with obvious official meaning. Some of the horizontal paintings on the stele still retain the wavy style of official script, but the structure is square and close to regular script. The brush used is mainly square, which is dignified and simple, and there is skill in clumsiness. It looks stupid, but it always has the potential to fly.

It is very appropriate that Kang Youwei commented in "Guang Yi Zhou Shuang Ji" that this stele is "as simple as an ancient Buddha".

Cuan Longyan Monument: The Cuan Longyan Monument was erected in the second year of Daming Dynasty in the Southern Song Dynasty (458), fifty-three years later than the Cuan Baozi Monument. It can be said that these two monuments are works of the same period. Its structure is mainly square, but the turning points have been rounded, unlike the rectangular corners of "Cuan Baozi Stele", which is more characteristic of regular script. We can see from the roundness and strength of the strokes in "Cuan Longyan Stele" that the strokes are actually derived from seal script. Although the strokes are divided into square and round strokes, the strokes are all extremely thick. "Cuan Longyan Stele" is characterized by tilting and bowing techniques, alternating density and sparseness, and its structure is characterized by its unique posture and ease of restraint. Kang Youwei commented: "The lower painting is like a Kun Dao carving jade, but it is pure and beautiful; the layout is like a finely crafted painting of a person, each with intentionality, which should be the standard of regular script."

Zhang Menglong Monument: This monument is erected in In the third year of Zhengguang reign of Emperor Ming Xiao of the Northern Wei Dynasty (522 AD), the full name is "The Monument of Qing Ode by Zhang Fujun, the Governor of Weilu County". It is now in the Confucius Temple in Qufu, Shandong. It is one of the masterpieces of the late Wei Dynasty. The writing style of "Zhang Menglong Monument" is vigorous and decisive, which can be regarded as the continuation and development of the style of "Shi Ping Gong". For example, the horizontal and straight square strokes, the square edges and triangular points at the folds, etc., all retain the old appearance of "Shi Ping Gong"; but not all strokes are square, but varied, some are square and some are round. It is more exquisite and delicate than "Shi Ping Gong". In addition, compared with the early Wei stele, it is not difficult to see the evolution process of Wei stele from coarse to fine.

This. When looking at the seal script written by Xu Xuan in the sun, there is a line of thick ink in the center of the strokes. Because the tip of the stroke goes straight down and does not fall sideways, the tip of the stroke is often in the painting. The old people also call it like "house leak mark" or "cone painting sand". . The Heilongjiang Provincial Museum has his "Fragments of a Thousand-Character Seal Script" (a copy of the Song Dynasty).