Liu Xinghua
The "restructuring" of the Northern Wei Dynasty promoted the cultural integration of all ethnic groups. At this time, the stone carvings in the Northern Wei Dynasty are not only numerous and beautifully carved, but also have important historical research value in China's calligraphy history, calligraphy aesthetics and calligraphy literature. At this time, the calligraphy art and aesthetic thought flourished unprecedentedly, which established the independent position of the Northern Wei Dynasty in the history of calligraphy in China. Generally speaking, the carved stone in the Northern Wei Dynasty has become an aesthetic model for later calligraphers to imitate because of its strong aesthetic feeling of combining rigidity with softness and rich bones. Among them, Jia Sibo Monument, published in the second year of Northern Wei Dynasty (5 19), is vigorous and concise in brushwork, elegant and natural in calligraphy style, showing unique artistic personality and aesthetic significance with its typical calligraphy language, and is worthy of being an artistic model in stone carving calligraphy in Northern Wei Dynasty. At the same time, it also has an important artistic position in the history of China's calligraphy.
I. Introduction to Jia Sibo Monument The full name of Jia Sibo Monument carved in the Northern Wei Dynasty is Yanzhou Jia Sibo Monument, which is 2 15cm high, 84cm wide and 20cm thick. The body of the monument is decorated with embossed dragon patterns, with the title "Jia Shizhen Monument in Weiyan Prefecture". This paper describes Jia Sibo's achievements in Yanzhou. Historically, Jia Sibo was called "Wuwei Ancient Collection". According to textual research, Wuwei Jia originated from Jia Yi in the Western Han Dynasty. After that, Jia Yi served as the magistrate of Wuwei, and his descendants were naturalized in Wuwei. Therefore, Jia Sibo and Jia Sitong of the Northern Dynasties should have their ancestral homes in ancient Tibet. There is a postscript to "Song Zhe Zong Shaosheng's Three-year View of Warm Benefits" on the tablet, saying that Chu Suiliang's brushwork has been inscribed on this tablet; The inscriptions on the stele erected by Huizong to Zheng Zheng in the 12th year of Yuan Dynasty were cut off. On the side of the tablet is the inscription of Jin Yifeng (Yanzhou magistrate) who moved to the tablet in the 59th year of Kangxi, and Weng Fanggang's postscript. Jia Sibo's tablet was originally in Yanzhou, and it was revived twice in the third year of Song Shaosheng (1096) and the twenty-second year of Yuan Dynasty (1362). Zhao Mingcheng's Notes on Jin Shilu (Jia Sibo Monument) are facing the wind and the words are peeling off. Under the shadow of the tablet, there are lines 16 inscribed by Yuan people. On the side of the tablet is an inscription on the relocation of Jin Yifeng, the magistrate of Yanzhou, and Weng Fanggang's postscript. /kloc-moved to Confucius Temple in Qufu in 0/953. Jia Sibo Monument is a famous monument in the Northern Wei Dynasty, with Gu Zhuo brushwork and exquisite structure. "Jin Cui Shi Bian" contains: "The tablet (Jia Sibo tablet) is six feet five inches high, three feet four inches wide, with twenty-four lines and forty-four characters. Its calligraphy is Gu Zhuo, which is very similar to Zhang Menglong tablet." Kang Youwei equated it with "Alina Zhang Belon" in Guang Yi and Zhou Shuang, and promoted it to "orthodox Sect". As the saying goes, "perfect structure and endless changes", the potential danger and strength are no less than the Raptors. Yang Shoujing's evaluation of the tablet said that "the style of the book (Jia Sibo tablet) is similar to that of Zhang Menglong, but it is still thicker than transcendence", which seems to be above the raptor. The earliest rubbings of this monument are Ming Tuo, and the words on the ninth line are still complete, and the Qing Tuo is even more incomplete. The latest rubbings have no glyphs. The World Bank was handed down from ancient times, and Wang Xiaoyu collected inscriptions, which were originally stored in the Palace Museum.
Second, "Jia Sibo Monument" explains the Jia Sibo Monument of Yanzhou Secretariat. My husband is sincere, because the party is eager for honesty, morality, style and inspiration. The source is remote, Myanmar, and the industry is deeply knowledgeable. The cat was flushed with light, the alarm was clever, and the ice was clear and jade was clear, jade was clear and jade was clear. Jade was called Qi Yi, and it was transformed into □□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□ General engaged in historical research are Zhi Zhi, Xing Wu, Shen Yumin and Xu Zhensi. You are afraid of thinking about the word "bo". Wuwei people are also descendants of Jin Taishijia, and the ninth ancestor visited Wei. Qinglong, the secretariat of Youzhou, went to the border of Guang Chuan in Jizhou and died of illness. Therefore, the secretariat of Youzhou is Gao Zuteng. The great-grandfather of Sima, the king of Yizhou, rarely lost his ancestors before becoming an official, and went to Fuzhou to record the state. I am very proud of my relatives and neighbors among the boys and girls in Qixian Prefecture, the main book of the Chinese government. I was a rookie in Taihe Middle School. As a courtier, I got a collection of excellent travel and elegant life, teaching and friendship, and writing, although I was weak at the beginning of the year. -but male assistant slightly moved to general Yang Lie, an infantry captain-former army general did not worship, and still gave assistant general--------Yi Sheng---night. Qin Wang, bandits and gentry, with their far-reaching admiration, led the big guard except Hanoi to kiss the old man, redistribute him, find him and accompany him for a year. The resignation of Xingyang satrap failed, and the late Hua Buze was awarded the post. I'm ashamed. I'm looking for Nan Qingzhou's father, the military expedition general of Nan Qingzhou. I'm sorry to visit General Guanglu and Shao Qing as usual, but I believe you will pay tribute to Su Xihao. I've been destroyed several times. I'm sad. I can't taste it anymore. I'm going to cut off my money. It's full of honor and disgrace to be kind and considerate to your family, my nephew, young and old, etc., except for the governor Yanzhou, the military general Zuo, and the secretariat of Yanzhou. People in the wilderness, even under the age of 18, on the border are good at it. If you follow the law, you can hope that it is □□□□□□□ in Youping Fu, and you will know that it is □□□□□□□□ years old. It is a matter of propriety, prosperity, harmony, benevolence, attachment to people, singers' songs and emblems. According to the burning British emblem, we will be reunited. Dekai's world is full of kindness, but the sound of a moment overflows, the fragrance flows far away, and the work continues, and the work continues. Huaqi, Kun, Diaosi and Sanqi argue that Zibo can't taste the kindness, but their internal skills are all □□□□□□□□□□□□□□ China, China, China, China, China, China, China, China, China, and China. Zhang Yi Yong is also the head of this department. Gan Tang caresses the river, dotted with light. He works for the dragon king Zhao. Zhang luhua's exhibition is a fragrant wind. He belongs to both Xian and Mu Kuan. Meng Xiang Keiko and Hebu Wei Li Qiu Shuang Ze Fu Lu Chunyan live together in an empty mountain garden and know how to appreciate foreign countries. Foreign neighbors are keen on singing, dancing and teaching. People don't melt their respect, but they just have morality here. They know that dragons are long, sounds are eternal, and wind turtles are two years old. In April, it defended the new moon in chenchen, and Ding Hai finished his work. The righteous Lord Zhai, the righteous Lord, made Cao Andu righteous Lord Jiang Fude.
Thirdly, the calligraphy of Jia Sibo's tablet is introduced briefly; The concise words, changeable layout and vigorous and elegant character of the inscriptions in the Northern Wei Dynasty have profoundly influenced the writing and creation of calligraphers of "Inscription Studies" in later generations. After Emperor Xiaowen of the Northern Wei Dynasty moved to Luoyang, the regular script style characterized by oblique painting and Jun Fang stippling was mainly popular in Luoyang inscriptions, until the Northern Wei Dynasty was divided into Eastern Wei and Western Wei. The main representative works include Longmen Twenty Products, Epitaphs of Taihe, Jingming and Zhengshi Years, Jia Sibo Monument, Zhang Menglong Monument, A?vagho?a Four Masters Monument and so on. As an outstanding calligrapher and engraver in the Northern Wei Dynasty, Jia Sibo's Tablet has a very important artistic position in the history of China's calligraphy development, with its nimble and leaping brushwork, frustrated and accomplished knife technique and detached and free and easy personality style. Jia Sibo's monument is a typical example of strange freedom in the North Monument. Its book style is vigorous and handsome, its structure is precise and refined, its border is dangerous and vigorous, its style is quite vigorous and handsome, and its charm is dangerous and steep. Wei Bei is horizontal and flat, while Jia Sibo's tablet is vertical and imposing, with a tight structure in the palace and strokes stretching around. The pen is thick and steady, ups and downs, vertical and horizontal stretching, neat and strange, showing the momentum of official script, which is slightly heavier than official script and more vigorous than regular script. Different from the style of writing in the Northern Wei Dynasty, it is vigorous and neat. The difference in this artistic style is the difference in harmony. It not only shows the change but also does not exceed the "harmony" of the whole, thus realizing the harmonious unity of many contradictory factors in the whole. The main reasons for the formation of its artistic characteristics are as follows: Jia Sibo's tablet is in the stage of font evolution, and there are still traces of painting with a pen in Fang Jun's works; On the other hand, this style was basically formed in the Wei and Jin Dynasties at that time, which was the necessity for hourly workers and writers to deliberately do it. Fiona Fang's style of writing and painting is both square and changeable, combining merits and demerits. Even the same strokes, there is almost no difference. The diversity of its spatial lines realizes the balance between dignified and dangerous, straightforward and implicit. From the modeling point of view, the structure is relatively broad, belonging to the early form of Weibei regular script, and many words reflect the brushwork of official script. In terms of font structure, it can be said that every word is strange and shaped by words. The shape of Fiona Fang is high and low, dense and scattered, which is shaped by the structure of the characters. The whole glyph layout, in which subtle strokes make it light and changeable. The big and small characters alternate with each other and set each other off. The distance between the upper and lower figures is not equal, resulting in a strong artistic effect of dynamic and static contrast, so that the whole is balanced in imbalance. Although there is no formal reference between the characters, they are looking forward to it because of the tilt of their bodies. In this way, the composition is processed by body potential, so that various modeling elements can be organically integrated and unified. Make the whole article full of changes in order, and changes belong to Zhuanghe. His Jun Fang brushwork, unique structure and changeable artistic style show Wei Bei's extraordinary calligraphy style, which occupies an important position in the history of calligraphy development.
Fourthly, a brief analysis of the art of stone carving calligraphy in the Northern Wei Dynasty, with Wei as the most prosperous. At that time, various regular script styles showed a situation of letting a hundred flowers blossom in the degeneration and evolution of official script. The calligraphy style of the Northern Wei Dynasty pursues the artistic beauty of "bone" and "strength" and advocates the spirit of simplicity and elegance. In the early years of Northern Wei Dynasty, Gu Zhuo's calligraphy had a strong style, which was "both brushwork and brushwork". In the later period, calligraphy was in line with the Southern Dynasties, and gradually formed a calligraphy style of "abandoning the ancient and seeking the new, sacrificing the quality and seeking the prose". The stone carvings in the Northern Wei Dynasty are exquisite in nature, calm in brushwork and beautiful in people. Sculpture varies from stone to stone. In fact, no matter which calligrapher wrote the epitaph, once it was published and engraved, it immediately penetrated into a part of the role played by the engraver. Although most masons don't print their names, they can't be ignored. Due to different regions, calligraphers and seal engravers, its writing features include the comprehensive creation of writers, seal engravers and natural environment factors. It is the organic integration of many factors that makes the stone carving calligraphy of the Northern Wei Dynasty unique. There is such a sentence in Mr. Qi Gong's On Book Poetry: "Look at the pen through the blade. Stone inscriptions are the product of the combination of calligraphy and printing. It is a purposeful creation of aesthetic subject. Although it is made by people, calligraphy is integrated with the natural environment and aesthetic imagination, arousing the natural and harmonious aesthetic voice of the aesthetic subject. The aesthetic feeling of lines presented by knife carving and Shudan is completely different, angular and angular. At the same time, this kind of meaning is not originally owned by stone inscriptions, nor can it be separated from the reprocessing of nature and history. Although the chiseled characters are written with a knife instead of a pen, they are skilled in technique, and most of them can achieve smooth brushwork and accurate stippling. Their character modeling and composition layout have also been carefully planned, so they can be compact, neat, flexible and vivid. Among them, the vertical painting of oblique painting is inclined to the lower right, the horizontal painting is raised to the upper right, the strokes are interspersed, and the main pen is elongated to form a tight and tight knot. The reason for this situation is that writing with the right hand, horizontal drawing left low and right high, vertical drawing inclined to the right and down, is more in line with physiological habits. Statues are carved on the cave walls, and it is much more convenient and faster to write against the stone walls than to write on a flat carrier and tilt the strokes. The structure of seal script and official script should be horizontal and vertical, while regular script is stylized from running script, which is more suitable for people's writing physiological habits and more or less tends to be horizontal and vertical. Writing regular script on an upright rock wall or stone tablet is naturally more obvious on the side. In addition, Jun Fang's straightness does not mean to engrave the brush strokes, but is straighter, sharper and more double-edged, and uses the simplest outline to express the brush strokes of characters. Horizontal painting is often carved into a parallelogram, points and hooks are carved into triangles, and a knife is obliquely carved at the turning point of horizontal painting and vertical painting to show the style of writing. Engraving is to engrave the strokes of each word in the same direction together, and then engrave the strokes in other directions. Because sculptors are generally illiterate, it is time-saving and convenient to carve strokes in the same direction together. For example, all horizontal paintings in a word are carved first, then vertical paintings, or points, strokes, strokes, strokes often change shape and direction. If Shu Dan's strokes are accidentally erased in the printing process, they will be missed and wrongly engraved. Although the inscriptions in the Northern Wei Dynasty are not as sharp and majestic as those in the last years of the Northern Wei Dynasty, they still maintain a close knot in structure. The book Jia Sibo Monument is magnificent, interesting and unique in style. It not only contains the typical brushwork and structure of Weibei, but also provides a real study of characters and stone carvings in the Han and Wei Dynasties. The writing style of this tablet embodies the smart beauty of writing skills and its own personality characteristics, which is enough to show that this tablet was written by a very good calligrapher instead of an ordinary calligrapher. Putting it in a specific era environment is the main cultural spirit of that period. Its neat structure, rounded strokes and simple and elegant writing are all important inscriptions that open the door to regular script in later generations. To sum up, the shape of stone carvings, the brushwork of calligraphers and the quality of seal engravers are the main reasons for the sharp brushwork, neat posture and different calligraphy styles of Jia Sibo's inscriptions and those of the Northern Wei Dynasty. It is a monument in strength, it is mellow, but restrained and radiant. The calligraphy of this tablet is scattered and simple. In the plain, it reveals a free and informal natural charm. Strive to change in condensed fonts, and through the analysis and comparison of bookshelves, we can see the beauty of density and the interest of nature. Every part of the modeling element is in a contrasting relationship, thus creating a whole feeling. Structurally, the inscription on this tablet takes the shape of a character, and its body is not limited, or it takes a horizontal and vertical trend, or it is long and square, with a circle in the square, and it emphasizes avoidance, echo and unevenness. There are many changes in the style of fairness, which set each other off and become interesting. It can be said that the law is born out of nothing and the law is born out of nothing. In a word, stippling is thick, the structure is open, the shape is inclined left and right, and it is integrated, which shows the individual feelings of calligraphers and seal engravers. The turning point of strokes is extremely wonderful, forming a feeling of flying lines, which is enough to show the perfection of carving technology. The generation of calligraphy style is restricted by the specific historical environment, and social function and writing mentality affect the means of expression, making a certain form gradually become the object of universal imitation in society, thus being fixed as a writing mode, which stems from the rich imagination in the process of calligrapher's inner construction and conception. The influence of regular script, combined with the incompleteness of regular script, the blending and fluidity in writing movement and the tendency of the writer's aesthetic thought, often reflect a variety of styles and spirits in a regular script. At the same time, under the general stylized aesthetic trend, calligraphers with independent aesthetic consciousness are always trying to find their own personalized calligraphy language. In the study of calligraphy, there is also a problem of how to distinguish types, and explore the changing law and relationship of calligraphy style through the comparison of forms. Only in the same cultural system can we find some elements that * * * supports intentionally or unintentionally. On the basis of seeking this "unity", we try to explore the artistic spirit of that era.