Long live Tian Tong Post, Zhong Bai Wine Post and its author, book style, etc. Apollo, Wang Ci of Southern Dynasties, is a descendant of Wang Dao and Chang Yu of Wang Sengqian. Baijiu Tie is one of Long Live Tian Tong Tie, which is an imitation of Tang Dynasty. This book is characterized by bold style, eclectic font size, magnificent text, bold and unrestrained changes in brush strokes and full of masculinity. The composition is dense and smooth, the brushwork is cadence, full of rhythm, dry and moist, which is very interesting. It is quite different from Wang Xizhi's gentle and simple style of writing. As can be seen from the book, he absorbed the strong brushwork of the Chinese side of the North Monument and had a unique style. According to Nan Shi, Liu Xiuzhe and Wang Heshang. Specializing in the same province, but from Yang Xin's letters at home and abroad, we know that the traces of the right army are slight, but many things are not good. When I was there, Tao also said: Respect is more expensive than the world, and there is no longer leisure. During the Song and Qi Dynasties, the right army was covered by big orders, and the people liked Amethyst's calligraphy, so there was a saying that all the people in the country learned from Yang Xin. Yang Xin, on the other hand, learned respect. There is a saying in the history of books that he can buy a king and get a sheep without losing hope. It can be seen that Yang Xin's study and dedication are very similar. Wang Ziniu had to be influenced by the Song and Qi Dynasties. From here, you can also appreciate Wang Xianzhi's strange and elegant style.
Undoubtedly, Jin Dynasty calligraphy was also a peak in the history of China calligraphy. As the chief figure of this peak, Wang Xizhi is naturally respected as a book saint by later generations. This school centered on him is considered to be a special type in the history of calligraphy, that is, it has authentic traditional calligraphy concepts and objectively created aesthetic characteristics of beauty. To sum up, Jin people's calligraphy has several important features listed in the previous generation: (1) it changed the quaint calligraphy style formed between Han and Wei dynasties into a fresh and elegant calligraphy style; I am passionate and carefree, and I have formed the flexible and changeable style of this grass. The brushwork is mysterious and simple, from real to virtual, that is, real is virtual, beyond the metaphysical realm, the so-called rhyme is vivid; It is reasonable to do whatever you want without overstepping the rules, which reflects the calligrapher's profound understanding of calligraphy. From the above aspects, the scale of defining the recognition of calligraphy in Jin Dynasty is formed. Take the aunt post in Long Live Tian Tong Post as an example. For regular script, some individuals write a heavy horizontal stroke, and there is no pause when writing. The page on the right side of the word pause does not pause, but falls in an arc. There is also the word "Xi", printed on the lower right. There is neither a hook to pick nor a foot to write on. Judging from the cross-checked manuscripts, except for these words, all the others are vividly written in regular script, but with a slight dignified taste and a trace of the articles of association. Compared with Li Bai's calligraphy table, the method of opening the first sentence is quite similar, and the writing methods of Feng, An, Chang Shi, Zhi, Zhong, He and Jin are similar or even identical. What makes the words feel awkward is the rest, especially the heart under the two rests. The style of writing is extremely heavy and there is no choice, so the taste of the whole post is relatively simple. This kind of Jin porcelain unearthed in the south with the flavor of the times is engraved with Guo Siyong's words, which can also be seen, and the structure of the word "nod" is quite consistent with the general festival. Then, from the A Jin porcelain jar, under the glaze near the mouth and shoulder, first write a word with a brush for the socks' personal use, write regular script on the porcelain tire, and hang the glaze into the kiln. The original was invaded by soil, which seems to have been unearthed in the early days. Before the Cultural Revolution, it was bought from somewhere by Lvda Cultural Relics Store. Although there is no clear unearthed place, the characteristics of Jin porcelain are quite obvious. Especially the underglaze iron color calligraphy is not only close to Li Bai's calligraphy desk, but also the same as his aunt's post. Compared with the overall style, there are more similarities than differences. Therefore, the first step of aunt's post can be regarded as the work of people in the Eastern Jin Dynasty, and further recognized as the original work of Wang Xizhi, which is unanimously recognized by all domestic experts today. Two points must be added here: although the calligraphy of aunt's post is simple, there is no official law; Guo porcelain stationery also electrocuted three men in the construction of Beitun, Taiyuan! That's right. The words on the celadon jar are not official laws, but the last word is very heavy, similar to Li Bai's calligraphy, and the official laws are very strong. In fact, the investigation of a style of writing should not only focus on the appearance of form, but also deeply observe which is the mainstream of its overall style of writing. According to our current understanding, the inscription on the celadon jar appeared in the last stroke because the wrist was hung on the jar surface to write a book, and then the jar at home was round, so it was not easy to hold the pen firmly. Just like the words listed in Li Biao above, in the process of reform, official scripts are still occasionally exposed, with different degrees of severity and the same total number of channels. It can be said that it reflects the transition from official script to regular script, which is slightly different due to regional or other subjective and objective reasons. However, all these individual factors can't prevent the Eastern Jin Dynasty from formally entering the real objective historical period of writing stereotypes. Secondly, regarding the evolution of Wang Xizhi's calligraphy, Auntie Notes may have been written in the early and middle period, using retired bald pens, so its effect seems to be close to Guo's porcelain notes with bamboo sticks. In all Wang's handed down posts, this style is extremely rare and should belong to the early and middle period.
The Wei-Jin period was a period of great turmoil and great change in China's history, and it was also a period of great ideological liberation. During this period, the war and division caused the complicated Confucian classics and divination, which had been dominant since the Han Dynasty, to collapse, the cultural autocracy was cut off, and the thoughts tended to be open. The rise of metaphysics in philosophy, the introduction of Buddhism and the prevalence of elegance in Qing dynasty have both negative and positive aspects, which objectively promoted the development and prosperity of scholarship, literature and art in Wei, Jin, Southern and Northern Dynasties. It was during this period that the art of calligraphy developed unprecedentedly and became a glorious period in the history of calligraphy in China. During the Wei, Jin, Southern and Northern Dynasties, all kinds of calligraphy went hand in hand, official script gradually declined, regular script gradually matured, cursive script developed into modern grass in Zhangcao period, and running script evolved from development to maturity in the evolution of official script. Wang's writing style got rid of the stagnant writing style since Wei and Jin Dynasties, and created a rigorous, vigorous and elegant writing style. Today, we can see the artistic achievements of Wang Xizhi's calligraphy from the traces of many Tang people copying Wang Xizhi's calligraphy. Since then, running script has become one of the important calligraphy styles in China, and it has been popular until today. The calligraphy style of the Jin and Southern Dynasties, inheriting the Han and Wei Dynasties and bringing forth the old and bringing forth the new, has an extremely important influence after the Tang Dynasty and even today.
References: Qigong Calligraphy Series. Cultural relics publishing house, 2003. A book written by Wang Xizhi in Tang Dynasty. Shanghai Painting and Calligraphy Publishing House, 2002. Calligraphy and culture in the Six Dynasties. Shanghai Painting and Calligraphy Publishing House, 1994. Selected calligraphy papers of past dynasties. Shanghai Painting and Calligraphy Publishing House, 1979. The Complete Works of China's Fine Arts. Jin dynasty and southern dynasties. Rong Baozhai Publishing House. 1997. Proceedings of the Second International Symposium on Calligraphy History in China. Cultural relics publishing house, 1996. Proceedings of the 5th International Symposium on Calligraphy History in China. Cultural relics publishing house, 2002. About the author: Wang Qiang, male, from Yangzhou, Jiangsu, lecturer of Yangzhou Vocational College, research direction: fine arts.