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The “Jin people” in “Jin people Shang Yun” should specifically refer to the calligraphy of scholars of the Eastern Jin Dynasty. Home, the so-called Shangyun, is actually the yearning and pursuit of the transcendent and ethereal realm of Laozi, especially Zhuangzi.
The "shangyun" of Wei and Jin calligraphy styles also has a clear outline. The so-called "rhyme" refers to the "meaning" of the work, that is, the pen and ink are natural. It is the inner spirit of the work that transcends the limited material form. At the same time, this spirit is derived from people. Therefore, the so-called "rhyme", from a more essential point of view, is the natural expression of the transcendent mentality and demeanor of the Wei and Jin literati who were "satisfied and contented, and their minds were too mysterious".
During the Wei and Jin Dynasties, the spontaneous form of calligraphy art began. Not long after the Jin Dynasty opened siege, foreign invasion and internal strife arose, causing social unrest. But in terms of calligraphy, it did not decline due to social turmoil. On the contrary, it showed a high degree of development that was unexpected. Regular script, regular script, and cursive script derived from official script have become childlike through the hard work of many calligraphers and have been pushed to the peak of art. Later, the aesthetic observance of calligraphy overshadowed the lack of practical ability, reducing the vitality of artistic creation.
Wei and Jin calligraphy began to evolve from calligraphy to individual style
Wei and Jin calligraphy Calligraphy in the Wei and Jin Dynasties inherited the legacy of the Han Dynasty and was full of creative vitality. It is a milestone in the history of calligraphy and established the development direction of Chinese calligraphy art. The calligraphy laws of the Wei, Jin and Sui and Tang dynasties opened up the two Song dynasties, inspired the state of the Yuan and Ming dynasties, and promoted the simplicity of the Qing and the Republic of China. They profoundly influenced the calligraphy of past dynasties and influenced the development of contemporary calligraphy.
First of all, Kai, Xing, Cao and other fonts have been rapidly perfected in a wide range of applications; secondly, there have been many influential calligraphers in history who have pioneered and exemplified styles. has irreplaceable significance in the establishment of calligraphy, which has profoundly affected the development of the history of Chinese calligraphy; finally, and most importantly, many basic concepts of calligraphy as an art have been revealed, which have not only formed theory but also been implemented into practice. Thus the artistic nature of calligraphy has been strengthened.
Before the Wei and Jin Dynasties, due to the complete material foundation such as the invention of paper and the improvement of pens, the improvement of learning conditions, and the strengthening of the practicality of fonts, the fonts were forced to develop from rigorous and solemn to convenient and loose. , such as Zhang Cao's "simple and convenient" calligraphy, Cai Yong, who has mastered calligraphy, and Zhang Zhi, who enjoys the reputation of "Cao Sage"; from one body to the coexistence of multiple styles (such as seal script in Qin and official script in Han Dynasty). The posture of the characters also changes from vertical to horizontal and then to square, forming a static pattern that can be square or round, long or short. For example, the trends of Wang Xizhi's early, middle and late characters are different. The evolution of the five bodies is intertwined, mixed and influencing each other. For example, running script is a marginal calligraphy style that was finally formed, including the absorption of regular script, cursive script and other fonts. It evolved again to form two major calligraphy styles: running regular script and running cursive script. Therefore, later generations commented on the calligraphy of Jin people as "the craftsmanship of pens and letters will last forever." (Ding Wenjun's "The Essence of Calligraphy") The evolution of calligraphy into the Wei and Jin Dynasties has weakened the momentum of creating calligraphy that embodies collective wisdom. Calligraphers such as Zhong and Wang did not expend energy in their efforts to create calligraphy styles. Instead, they saw that all five parts were ready, and only started from the point of view of making it more precise and improved, using their genius and diligence as well as the height that a calligrapher should have. To strengthen and perfect a certain calligraphy style, highlight its temperament, and show its character. "When one's art reaches its peak, the best is achieved" (Su Shi's words), this is the artist's unremitting pursuit. "King Ti" and "Zhong Ti" shine in the annals of history with their brilliant brilliance, which is due to their correct choice of the times.
When calligraphy in the Jin and Jin Dynasties was at its peak, it was mainly reflected in running script. Running script is a font between cursive script and regular script
It is conscious and free in the artistic spirit, especially in The expression of the subject's life experience is deeply influenced by the Taoist thinking of Lao and Zhuang, and the constraints of Confucianism in artistic thinking are relatively reduced, making the calligraphy art that has become fully mature in this period rapidly develop in the direction of expressing the true feelings of the subject. The calligraphy style and calligraphy aesthetics of the Wei and Jin Dynasties have always been admired by us for thousands of years.
Critical calligraphy from two aspects of Kung Fu and nature, and the highest state of Kung Fu is "a good shot without injection, a wonderful wheel without passing on", which very clearly reflects the Lao and Zhuang calligraphy of this era. It is a typical way of thinking to achieve artistic freedom and liberation by gradually embodying the "Tao".
. At this time, Chinese calligraphy entered a period of comprehensive and conscious development, with all five calligraphy styles including seal, official script, regular script, running script and cursive script, and various calligraphy styles developed mutually.
At this time, official script has reached the end of stylization in the late Eastern Han Dynasty, regular script has become more mature, cursive script has developed into modern cursive script, and running script has developed from birth to maturity in the process of official script changing.