Metaphysics and calligraphy
Metaphysics in Wei and Jin Dynasties had an important influence on the development of calligraphy. The rebellion at the end of Han Dynasty, the decline of Confucian classics and the rise of Huang Lao are all transforming traditional Confucianism. Adding natural elements to it has had a great impact on traditional dogma. This is a period of disintegration. Scholars in Wei and Jin Dynasties turned their attention to the beautiful nature and began to explore the harmony between human nature and nature from time to time, and felt the universe and life by indulging in mountains and rivers. Starting from the philosophy of life of Laozi and Zhuangzi, they expressed their thoughts on the world, life and all existence by talking about metaphysics, which enriched traditional concepts and promoted the prosperity of art.
During the Wei and Jin Dynasties, all calligraphy characters were quite satisfactory, and the glyph arrangement was inclined from left to right, some within one character and some within one line. However, this just shows the attitude of Jin people in pitching. This is not divorced from the nature of harmony, but only injects smart vitality and high emotions.
Wang Xun's Yuan Bo Tie
The style of writing truly embodies a kind of beauty that is beyond worldly customs, bright and correct. The strokes of Jin people are very small. This is not difficult to see in Yuan Bo Tie. Without too many setbacks, the lines are smooth, the momentum is smooth, and the posture is natural. Jin people love metaphysical debate, but in the end they think that expressing everything in a natural and sophisticated way is "letting nature take its course". Instead of always putting the "end" of doctrine between the lines like the previous generation, it pursues a kind of beauty of ice and snow, which is a true reproduction of the attitude of pursuing super-utilitarian life and individual freedom under the influence of metaphysics. Moreover, this kind of super-utilitarianism only transcends a secular tie, not the true feelings of the world. Therefore, Jin people are affectionate and detached, as Dong Qichang commented: "chic and ancient, beautiful in the Eastern Jin Dynasty."
(2) Taoism, Buddhism and the calligraphy style in Wei and Jin Dynasties.
It makes the creative subject's thinking turn to explore the relationship with personal feelings, not the result. What Confucianism preaches is the result of self-cultivation and an ideal state that people should achieve. Taoism pays attention to the relationship between all things, including people.
Every stroke of Jin people's calligraphy has a taste of surpassing the world. This kind of dust is the expression of the spirit of freedom. The Book of Jin People contains free personality, which is closely related to the Taoist spirit. Speaking of Buddhism, this is actually consistent with Taoist thought. They all seek extreme peace from the depths of their hearts. Extreme silence is also extreme freedom. When the mind is in the heart, it can be in Vientiane. When it comes to the pen, it naturally forms a realm of communication with God. Whether it is metaphysics, Huang Lao or Buddhism, its specific influence on calligraphy should mainly be to highlight the word "little three"