Si ku quan Shu calligraphy

Qianlong and Jiaqing were the middle period of calligraphy in Qing Dynasty. The development of calligraphy at this stage is characterized by the situation that calligraphy and epigraphy keep pace.

On the one hand, after entering the Qianlong dynasty, the Qing regime reached its peak, which was an era of internal and external stability. During his 60 years in office, Qianlong attached importance to the construction of cultural undertakings and organized and compiled various large-scale books, among which the number of volumes of Sikuquanshu reached 787,365,438+0. He also copied the famous cultural relics collected in the Forbidden City into Sanxi Hall, Fa Tie, which is comparable to Chunhua Ge Tie. In addition, Gan Long himself is good at calligraphy, especially Zhao Meng and Yuan Man. Influenced by it, the calligraphy of Tiexue in Qing Dynasty reached its climax in the middle of Qianlong period, and a number of famous calligraphers such as Liu Yong, Liang, Weng Fanggang and so on emerged. Since then, bloody calligraphy has gradually declined.

On the other hand, the rulers of Gan and Jia repeatedly pushed the literary inquisition, and the scholars were afraid to talk about the troubles, so they concentrated on textual research and interpretation of the classics. The so-called "Pu Xue" that was popular at that time was to use inscriptions as a tool to prove classics and determine history. With more and more stone carvings unearthed in various places, copying and rubbings are widely circulated, and a group of calligraphers who pay attention to drawing nutrition from stone carvings have emerged. As for the development of epigraphy in Qing Dynasty, Ding's Calligraphy Essentials said: "Zheng Xie and Jin Nong's law took the opportunity to develop, Ruan Yuan led the way, Deng added fuel to the fire, Bao and Kang Youwei added fuel to the fire." Among them, Zheng Xie, Jin Nong and Deng were all from the Ganjia period. On the other hand, the North-South School of Calligraphy and the South-North School of Calligraphy, which represent Ruan Yuan's viewpoint of valuing calligraphy and respecting steles, are epoch-making works, which have reversed the previous values and aesthetic concepts of calligraphy and marked the establishment of the theory of stele study.