As one of the five major differences in calligraphy, Lishu has experienced ups and downs in the long process of development and evolution, which is intriguing. The following is the evolution and aesthetic characteristics of official script I compiled for you. Welcome to read and learn!
Guli, an innocent belligerent
Lishu, bearing the seal of brush and writing, occupies a glorious page in the history of philology and calligraphy. So where did the official script come from? Traditionally, many documents believe that it was created by Cheng Miao, a person from Qin Dynasty. "Taking Famous Articles from Ancient History" said: "Cheng Ying, a prison official in Qin Dynasty, was good at big seal script, offended the former emperor, was imprisoned in Yunyang prison, and increased or decreased big seal script to get rid of its complexity. At the beginning, the emperor was good at this, and it was called Lishu. " [1] "On the Book Table" also said: "Qin burned the scriptures, except the old ones, and there were many officials and prisons. In order to change the contract, the official script was used and the ancient prose was suspended. " [2] These two documents have a clear explanation of the causes and times of Lishu. On the contrary, Li Daoyuan of the Northern Wei Dynasty put forward the view that "the official was from ancient times, but not from Qin" [3]. Wen said, "Sun Changzhi tasted Qingzhou's secretariat of Fu Yue, and Linzi made an ancient tomb and got a coffin, which was hidden as an official word before and after, saying that the coffin of the Sixth Sun was also. Only three words are ancient, and the rest are the same as this book. " Which of the two views is right and which is wrong? With the excavation of a large number of bamboo slips and silk books since the founding of the People's Republic of China, it has provided us with brand-new conclusive evidence to clarify this issue: 1965, The Book of Houmameng was unearthed in the eastern suburb of houma city, Shanxi Province as a record of sacrificial activities in the Spring and Autumn Period; From 1980 to 1982, a large number of stone tablets written in the late Spring and Autumn Period were found in wen county, Henan Province, and their calligraphy styles and styles were basically the same as those in the later books. 1978, more than 240 bamboo slips, about 6,600 words, were unearthed from the tomb of Leigudun 1 in Suixian County, Hubei Province, which was verified as the early Warring States period. In addition, the bamboo slips unearthed in the spring of 1957 in Changtaiguan Chu Tomb in Xinyang, Henan, Tengdian 1973 in jiangling county, Hubei, and Wangshan 1965 in Jiangling, Hubei are all works of Chu in the early Warring States Period. 1953 bamboo slips unearthed from yangtianhu tomb in Changsha, Hunan province, 195 1 05 bamboo slips unearthed from Wulipai in Changsha, Hunan province, 1953 bamboo slips unearthed from Yangjiawan in Changsha, and 1978 bamboo slips unearthed from Tianxingguan on the south bank of Jiangling Lake are all considered.
These works, from the font point of view, are all so-called ancient prose of the Six Kingdoms. Although there are differences in style due to different regions, times and writers, its aesthetic characteristics are * * *, starting again, boldly collecting the pen, reckless use of the pen, refreshing use of the pen, and naive words. This is strikingly similar to the calligraphy of bamboo slips in Qin and Han Dynasties. It can be proved that as early as the end of the Spring and Autumn Period, ancient Chinese characters in the early and middle period of the Warring States Period began to be ancient.
1980, two wooden slips were unearthed in Qin tomb, No.50 Haojiaping, Qingchuan County, Sichuan Province. In which 1 positive and negative versions 154, the time is 309 BC (that is, 2 years in Qin Wuwang). This is the earliest work with obvious official transformation style found in China so far. Except for a few characters, the works still retain the basic form and brushwork of seal script. Most of the characters have begun to have the scale of official script form, brushwork and gesture, and some of them are even very close to the Han Li we see today. Generally speaking, these figures are short, smart and neat without wave picking, giving people a "determined" artistic beauty; The white cloth is clear, with vertical lines and no horizontal lines, and the characters are different in size and thickness, which is particularly lively and natural. 1 in March, 986, 460 bamboo slips were unearthed from the Qin tomb at Fangmatan1in Tianshui, Gansu Province, which were divided into three volumes: Japanese Book A and B and Records of the Tomb Owner. The book was published a little earlier, and the rest was in 239 BC (that is, the eighth year of Qin Shihuang). A book is super elegant and free and easy. The pen is centered and the edge is supplemented. When you start writing, you often hide the front or press the pen again to form a "nail head". When collecting a pen, it is often sharp and dangerous, or quickly folded with Jun Fang, which is extremely casual, unrestrained and dazzling. The second edition is slightly different from Master Grave Robber in style, so it is concise and restrained, so it is less unrestrained. 1975, 12 Qin tombs were excavated in Yunmeng Sleeping Tiger Land, Hubei Province. Among them, the wooden door lintel of Tomb No.7 is engraved with the words "Fifty-one years of the Five Kingdoms of Quyang", which belongs to Zhao Xiang, the king of Qin in 5 1 year (that is, in 256 BC). 165438 Tomb unearthed about 1 15438+050 bamboo slips related to Qin legal documents. Chronological records began in the first year of Zhao Haoqi, Qin Xiang (306 BC) and ended in the 30th year of Qin Shihuang (2 17 BC), which is the 4th year after Qin Shihuang unified the six countries and proclaimed himself emperor. These works are very similar in style to Yunmeng Qin bamboo slips and Qingchuan Qin bamboo slips.
Qin bamboo slips of Qingchuan, Tianshui and Yunmeng are the earliest official reform works we have seen at present. It tells us eloquently: 1, Lishu originated in the late Spring and Autumn Period and the early and middle Warring States Period, with Qin as the main body and six ancient texts. By the end of the Warring States period, it had basically taken shape, so it was diverted from ancient Chinese and became a widely used font at that time. In the Qin dynasty, it was neck and neck with Xiao Zhuan, each leading the way. 2. Although we haven't seen a lot of ancient books confirmed as Qin Dynasty, we have every reason to believe that Qin Dynasty was the development period of Gu Li through these bamboo slips. Therefore, it should be said that "too many plays" and "too difficult to seal" have forced people to use "Qin Li" widely, which is by no means a sudden occurrence under certain conditions. Without the development of 15 years, of course, there would be no maturity and prosperity of official script in Han dynasty, and there would be no "elimination" of Xiao Zhuan.
The colorful division of Han dynasty
The Han Dynasty ruled for 426 years and was one of the most prominent dynasties in China's history, with unprecedented development in politics, economy, culture and art, and calligraphy was no exception. Simple and quick official script has not only matured, but also become the dominant font. Since then, the era of ancient Chinese characters characterized by pictographs, complicated inflections and difficulties in writing and recognition has come to an end, creating a new era of modern Chinese characters.
On the whole, the development process of official script in Han Dynasty can be divided into two periods: the mature period in Western Han Dynasty and the heyday in Eastern Han Dynasty.
In the past, people were limited by materials, and the evaluation of calligraphy in the Western Han Dynasty could only rely on only a little historical data to speculate and assume, which led to many mistakes. Today, after witnessing a large number of bamboo and silk books unearthed in the Western Han Dynasty since the founding of the People's Republic of China, we have to examine the great achievements, historical position and aesthetic value of the calligraphy art in the Western Han Dynasty with a brand-new concept. According to incomplete statistics, China has unearthed more than 20 pieces of bamboo and silk books of the Western Han Dynasty in Hunan, Shanxi, Hubei, Anhui, Guangxi, Shandong, Jiangsu, Gansu, Qinghai, Hebei and other provinces. 1972, 3 bamboo slips 1 2 were unearthed from Mawangdui1tomb in Changsha, with 49 wooden slips attached, totaling 2063 words. Generally speaking, these fonts are slender and beautiful, and there are not many flat ones; The pen is smart, smooth and natural, especially the wanton exaggeration of the vertical pen, which left a deep impression on people. A number of bamboo slips and wooden slips have also been unearthed from Tomb No.3, among which the most valuable ones are silk books stacked in lacquer. From the point of view of calligraphy, the silk miscellaneous therapy prescription is similar to Yunmeng Qin bamboo slips, with a slightly flat shape, but still neat. Letters from the Warring States are vertical in shape, with slender lines, especially exposed on the front, and their seal cutting meaning is stronger than other silk books. Lao Zi Jia Ben and Chun Qiu Shi Yu are similar in style, vertical in shape, rough in stippling and careless. The second edition of Laozi is unique, with horizontal grid structure, dignified and neat, elegant horizontal painting, restrained style, delicate and elegant, which is the first in the Eastern Han Dynasty. Li Shu In the early Han Dynasty, this book should be the final rule. 1983 ~ 1984 More than 0,000 bamboo slips/kloc-0 were unearthed from Han Tomb No.247, Zhangjiashan, Jiangling, Hubei Province. The book style is similar to that of Yunmeng Qin Bamboo Slips, which is simple and heavy, cool and elegant, and has a sense of "leisurely and carefree". 1973 ~ 1975, three wooden slips were unearthed at No.9 Fenghuangshan, Jiangling, Hubei Province, and the handwriting is still legible. Among them, 65,438+0 pieces have the date of Wendi 65,438+06 (65,438+064 BC), indicating that the inscription was written in the early Western Han Dynasty. The three pieces of cloth are ingenious, the word spacing is far apart, and the row spacing is very wide and comfortable, giving people artistic enjoyment; The knot is also unique and the posture is vertical. Every painting, such as vertical, vertical hook, division, Ge hook and main cross, is wild and exaggerated, and it is extremely free and handsome, which seems to have something in common with the bamboo slips unearthed in Mawangdui 1. What is particularly surprising and shocking is that his wave-picking methods, such as the main horizontal, painting and hook, are very skilled, almost exactly the same as the mature eight points in the Eastern Han Dynasty. This is the earliest work seen at present, which shows that as early as the early years of the Western Han Dynasty, the wave pen with the beauty of silkworm head and goose tail and extremely rich flowers was formed. Therefore, although the number is very small, it is of great value for us to study the history of the development and evolution of official script. 1972, two tombs of the early Western Han Dynasty (about BC 140 ~ BC 120) were excavated in Zhangshushan, Linyi, Shandong. Among them, 4,942 bamboo slips were unearthed from Tomb 1 and 32 bamboo slips were unearthed from Tomb 2, totaling 4,974. The stippling of these works is plump and careless, which is in the same strain as the silk book Lao Zi written by Ma Wangdui. During the period of 1972 ~ 1973, archaeologists excavated 19637 bamboo slips in Ejina Valley, Gansu Province. These bamboo slips are diverse in form, rich in content, clear in age and changeable in writing (not only ancient prose, but also eight-part essay and cursive script). 1973, many bamboo slips were unearthed from the Western Han Tomb at No.40 Bajiaolang Village, Dingxian County, Hebei Province. Judging from the enlarged samples, the calligraphy style is quite mature: flat, horizontal, prepared, cautious, dignified and neatly arranged, which is very similar to Chen Shi, Cao Quan and other famous tablet schools in the Eastern Han Dynasty. It shows that the development of official script has completely got rid of the shackles of seal script. Therefore, we have reason to say that "Dingxian Han Bamboo Slips" is a monument in the history of official script development, which indicates that official script has become a thing of the past and is maturing! 1959 "A Book of Wuwei Etiquette" unearthed from No.6 Han Tomb in Mozizi, Wuwei, is beautifully written and skillful: the pen is skillful and sophisticated, vigorous and subtle; The word is horizontal, the word is left, and the word is right. The waves are varied, the font size is basically the same, the spacing between words is sparse, and the balance is basically the same, unlike other bamboo slips, which are big or small, sparse or dense, and go with the flow. Obviously, this is a mature eight-part essay that has been integrated with the artificial arrangement factors dominated by the author's subjective consciousness. From unintentional to intentional, from naive natural beauty to neat and orderly artificial beauty is the objective law of artistic development. Through the above analysis of bamboo slips with distinct rational aesthetic pursuit, we can see a clear vein from the ancient Li Dynasty, which sprouted in the Spring and Autumn Period and the Warring States Period, to the Han Dynasty.
The Eastern Han Dynasty was an era of highly mature official script and unprecedented prosperity. Marked by the unprecedented prosperity of stone carving art in the middle and late period and the concentrated emergence of famous inscriptions, the first cycle of official script life from origin to maturity to prosperity was completed. During the middle and early Eastern Han Dynasty 100 years, calligraphy developed slowly and basically inherited the old system of the former Han Dynasty. This can be confirmed by reading Juyan, Wuwei Han bamboo slips and several stone carvings in this period. However, the official script in the middle and late Eastern Han Dynasty is quite different from the previous generation in terms of maturity, word diameter, ruler width, shape, material selection and attitude towards works.
As the only stone carvings in the early period, Lai Zihou, Sanlaoren's stone carvings to avoid the sun, the road to praise and incline, Dajimaishan's stone carvings and Sima Changyuan's stone inscriptions all have the same aesthetic characteristics: mellow and muddy, soft and full, and full use of seal cutting (as Kang Nanhai called it). There is a wave of meaning, but there is no obvious choice. So the connotation is simple, natural and frank, full of ancient meaning. Therefore, it gives people the impression that there is neither the typical antique characteristics of Yunmeng bamboo slips nor the distinctive stereotyped writing characteristics of Ode to Shimen, which is completely in between. Through them, it is not difficult to see the inheritance relationship between Yuan Hun's brother Fang and Xiao San Gu Mu's works, such as Ode to Shimen, Record of Yang Huaibiao, and later, Mount Tai today's fate, Four Mountains Cliff Stone Carvings and so on.
There are six kinds of famous stone carvings in the middle period: Ziyou Residual Stone, Sacrifice to Sangong Mountain Monument, Taishi Stone Queming, Yangjia Residual Monument, Peicen Jigong Monument and Beihai Xiang Jing Mingjun Monument, which can be roughly divided into three groups: Residual Stone and Residual Monument are highly mature eight-point books; "Taishi" and "Peicen" are a group, and they are not obvious in wave picking method, but they are full of interest in brush printing, which is between Guli and Bafen, so they are similar to some early carved stones. As a group, Three Mountains Sacrifice and Jing Jun are two works in seal script. The essay is folded and extended, colorful and aggressive. From this, we can see their relationship with Zhang Qian, Xia, Xian Yu Huang, Wu Zhi's "Tianfa Shensi" and other historical sites in the Huan and Ling Dynasties.
During the Eastern Han Dynasty, the wind of erecting monuments prevailed, especially during the Huan and Ling Dynasties. As a kind of official script, official script has entered a glorious era with various schools, different styles and prominent structures. As far as the shape of stone carvings is concerned, they are nothing more than monuments, epitaphs, cliffs and statues. People often choose corresponding forms and write specific words according to actual needs. Due to the different solemnity of the occasion, the shapes of the carved stones are different, and the writing methods are also quite different. Japanese scholar Jungang Urano divided the Han steles in this period into five categories according to the purpose and writing style [4]: one is the "sacred stele" represented by the memorial to Sangong Mountain, Fenglongshan Monument, Baishi Shen Jun Monument and Xiyue Huashan Temple Monument, celebrating the efficacy of ghosts and gods. This kind of works is rigorous in structure, square in posture, rich and elegant in style and broad in momentum, which constitutes a group of "majestic book style" [5]. One is "Temple Monument", represented by three monuments of Confucius Temple (Yi Ying, Li Qi and Chen Shi), which describe the sacrifices and builders of ancestral temples. Temple monuments are usually strict in laws and regulations, which are the standards of "perfection and nobility" [6] and "model of sufficient capital" [7], but they have been omitted. One is to praise personal virtue. Zheng De Monuments include Pei Cenji's Monument, Cao Quanbei, Zhang Qianbei and so on. Tombstones include Jing Jun Monument, Xia Chengbei Monument, Confucius Temple Monument, Fang Heng Monument, Fan Min Monument and Yinzhou Monument. This kind of tablet is the highlight of the tablet inscription in the Eastern Han Dynasty, with a large proportion, wide distribution area and long duration. As far as the book style is concerned, unlike the first two categories, they are all strict and strict, but they are different in appearance and are different from each other. For example, "Cao Quan" is slim, beautiful and elegant; "Zhang Qian" wins by being neat, simple and strong; Fang Heng is rich, heavy and stern; "Xia Cheng" wins with strangeness, roundness and solemnity; Confucius Temple wins with simplicity, freedom and beauty. The fourth kind of monuments carved to commemorate the completion of civil engineering are represented by "Three Odes to Cliff" (Shimen Ode, Xixia Ode and Gao Ode). The biggest feature of cliff stone carving is that the stone surface itself is not as smooth and flat as the stone tablet, and its area is many times larger than the stone tablet. When writing, it is completely "guided by the situation." In addition, stone tablets do not need to be as sacred and solemn as stone tablets, temple tablets and tombstones, so as to achieve the aesthetic characteristics of such works, which are elegant, broad, generous and natural. Others, such as inscriptions, epitaphs, stone classics, etc., are represented by Yang Sanlao's Stone Chamber Portrait Inscription, Zhu Inscription, Ma Jiang's Epitaph, Pingshi Classic, etc. In this kind of works, except for the neat writing of the stone scriptures and strict statutes, other works are more casual and sloppy. This is because their status and function are not as good as tombstones. However, from the artistic point of view, casual "casual" and "sloppy" often make the works naturally reveal "true interest", so good structures come out from time to time.
Li Shu with humble style in Jin and Tang Dynasties
Lishu began with the ancient writing of Cao Zhuan in the Spring and Autumn Period and the Warring States Period, and reached its peak in the Han Dynasty, and great changes have taken place. From the Three Kingdoms to the Jin Dynasty, the Northern and Southern Dynasties to the Sui and Tang Dynasties (from 220 AD to 907 AD), the development of official script basically followed two paths. One evolved in the direction of regular script and finally developed into Weibei and Tang Kai; One developed in the direction of official script itself, and finally formed the style of officials in Jin and Tang Dynasties. The former evolved from simple square works in ancient times, such as Xianyuhuang, Zhang Shou Monument, The West Chamber, Zhang Qianbei and so on. During this period, it was composed of Xie Xiubei, Gulang Bei, Wang Min's epitaph, Wang's epitaph and epitaph. Because this is a literary revolution that evolved from one font to another, it has strong vitality and has become the mainstream of calligraphy art in this period. As the works born during the transition from official to official, they all have the overall characteristics of official to non-official and official to non-official, and become a new type of intermediary font. Most of his pens are square, with folded corners and steep hooks, so the stippling is thick, vigorous and colorful. These are all obtained from the mother's innate genes. Because of its immaturity, there is no doubt that children are babbling and eager to learn between the lines, which is reflected in the different sizes of words, the deviation of center of gravity, the dangerous state from time to time and the poor truth rate. Therefore, this calligraphy style has a strong artistic sentiment and has been favored by calligraphers since the Qing Dynasty. The latter inherited the solemn, clean and elegant style of "Three Monuments of Confucius Temple" and "Cao Quan" in the Eastern Han Dynasty, and "Summer City North" was both ancient and interesting in decoration. From Shang Zun Hao to Cao Zhen and JI Wang, and then to Longxing Emperor in the Western Jin Dynasty, he visited Biyong Monument three times, completing its transformation mission. Since then, it has remained almost unchanged, forming a fixed style pattern of official script in Jin and Tang Dynasties: 1. The pen is monotonous, monotonous and unchangeable, lacking dignity, massiness and meaning. 2. The word repairers are steady and upright, with uniform arrangement and strict statutes, which hurts the spirit and makes them dull. 3. The arrangement of rules is regular. Horizontal, vertical and diagonal lines can all be arranged in a row, just like an operator, so it hurts. It can be said that the development of official script from ontology to Jin and Tang dynasties is a dead end. This kind of works, the deliberate composition of artificial carving is serious, which pushes the aesthetic feeling of pursuing decorative effect to the extreme, and the natural and quaint atmosphere of the Han monument is gone. In short, the style is vulgar, full of the spirit of paper makers, and has no aesthetic value at all.
There are two phenomena worthy of attention about the official script works in this period. First, because of the parallel development of the two ways, calligraphers living in this particular period will undoubtedly be under pressure and influence from two aspects, so there are Confucius tablets (in the first year of the Three Kingdoms, that is, AD 220) and stone carvings (in the second year of Liu Dynasty in the Southern Dynasty, that is, AD 42 1) and Liu Xian epitaphs [about the North], and the decorative interests of the sketches of Kong Xian and Liu Xian (of course, from Xia Cheng) and the officials in the Jin and Tang Dynasties. Gong Xuan's horizontal painting is exactly the same as Ercong's. Secondly, the four-year monument of Father Jianyuan (four years before the establishment of the Sixteen Kingdoms Fuqin, that is, in 368 AD), the monument of Haoduan Taiwang (in the Eastern Jin Dynasty, it was heard in 10, that is, in 4 14 AD) and the poem "Tieshan Cliff Fu" (in 579 AD, the first year of Zhou Xiang in the Northern Qi Dynasty) are the circles of meridians. These awakening works, which are quite different from the official script of Wei and Jin Dynasties and have high aesthetic value, may be the last glimmer of light before the official script comes to an end.
Song, Yuan and Ming Dynasties' Literati
When the law-abiding Tang people cornered Li and Kai, the Song people who followed did not move forward. As a result, a rebel movement to get rid of the shackles and seek new life has quietly emerged. This is an artistic revolution with the aesthetic concept of "respecting meaning" as the core. They found a new way and turned their attention to the running script (including cursive script, of course), which is full of vigor and easy to feel. Su Shi, Huang Tingjian, Mi Fei and others have made great achievements, led the times with their strength, and created an immortal image in the history of books. In their eyes, Li Shu and Li Shu in the Tang Dynasty were regarded as "vulgar goods" without artistic essence, so relatively few people cared about Li Shu, and Li Shu even had no teeth-from then on, it entered a historical trough!
At the beginning of the Yuan Dynasty, Zhao Meng came out of the mountain to learn the ancient method and return to the tradition, so thorium was tanned to the bell shape of ァS, Tang Yuan and so on. , have been in one's hand valued eight points. However, after all, it is difficult to reach a high level by blindly copying the past and not seeking new changes. For the Zhu Ming dynasty, it was also unequal. Although, Wang Min, Wen Peng, Song Jue, Sun et al. Famous for their official scripts, they are self-disciplined, ancient and stuck in the model of the Tang Dynasty. Therefore, their works are full of artisan customs, and it is difficult to find an artistic language that conveys feelings, embodies the beauty of nature and embodies the spirit of the author. In a word, the official school in Song, Yuan and Ming Dynasties was neglected, and the atmosphere declined.
The official script of Qing dynasty that publicizes individuality
As we all know, the Qing Dynasty was a politically groggy and decadent dynasty, but calligraphy, especially official script, was revived in this era. This is certainly not accidental. On the one hand, as mentioned above, since the reign of Huan and Ling in the Eastern Han Dynasty, the situation has gone from bad to worse, and Song Yuanming has attracted little attention. Eight-part seal script is almost extinct [8]. The calligraphy style of "Two Kings" is known as the originator of Iron Studies, and has long been highly praised by Liang Wudi and Emperor Taizong. Dong Qichang's History of the Ming Dynasty was written by a man who took "two kings" as the mantle and was defeated by "vulgarity" [9]. Although it was not enjoyable, it won the appreciation of the Ming and Qing emperors, resulting in the appearance of Zhao and Zhou from the Ming Dynasty to the early Qing Dynasty. Coupled with the imperial examination, the pavilions are prosperous, with thousands of people and faces, and the words are the same. It can be said that the calligraphy of the Qing dynasty, which earned a living within the scope of the "two kings", has been extremely decadent. Extremes must be reversed. This contradictory movement of calligraphy art has objectively accumulated great kinetic energy for the revival of official script, just like a huge active volcano, which is on the verge of eruption. On the one hand, during the period of Kang, Yong and Gan, in order to strengthen imperial power and prevent subversion, the Qing government stepped up efforts to clamp down on the thoughts of Han middle school students, resulting in a dense network of articles. In order to escape the cruel reality, people have to turn to other things. Among them, many people devoted themselves to the investigation of ancient books and the textual research of epigraphy. Therefore, inscriptions, as records of historical documents of the Han Dynasty, are favored by people as never before. At the same time, the aesthetic value of the calligraphy art of Han tablet has also aroused people's extensive interest and concern. After textual research, many people are immersed in the exploration of the calligraphy style of Han officials, which has led to the development of "Sinology" and "respecting monuments and humble posts" in academic circles. Obviously, it is this "literary prison" that is still creepy to think of, which has activated the "Lishu" volcano that has been sleeping for 1400 years.
In addition, in the early Qing Dynasty, several people with foresight and personality also contributed to the revival of Qing Li. The first is Fu Shan. Fu Shan's cursive script is more famous than the world, and his style is still iron and blood. However, his words and deeds have completely demonstrated his idea of a monument to honor. He said: "The incredible thing about Han Li is that it is hard and clumsy. I didn't mean to arrange it properly at first. If the side is narrow and the left and right sides are dense, I believe it and it will be dense. " [1 1], especially his aesthetic thought [12], is incompatible with charm, grace and femininity. He practiced, walked on the grass and learned to leave the country. Although not yet mature, the simple and honest taste of the work swept away the bad habits of stereotyped writing since the Jin and Tang Dynasties, which had a strong rebellious significance at that time. Therefore, Fu Shan can be said to be the forerunner of the rise of epigraphy and the revival of official script in Qing Dynasty. Followed by Wang Shimin, Zheng Zhi and Zhu Yizun, known as the "Three Lies in the Early Qing Dynasty". Zheng and Zhu vigorously advocated the study of steles, devoted their lives to the research and textual research of epigraphy, and paid attention to practice, creating an eight-part essay style with distinctive personality and high artistic value. Although Wang Shimin is a representative of the school of retro painting, his eight points go straight to the Qin and Han Dynasties and are full of ancient flavor. The lines are not as smooth and thin as those in the Tang Dynasty, and the pen and ink are not as "black" and "dead" as those in the Ming Dynasty, and they are very particular about the change of lightness. In these respects, his works are more innovative than those of the Tang Dynasty. The achievements of "Li San" in the early Qing Dynasty basically represented the level of dividing books in the early Qing Dynasty, which laid the foundation and opened the way for the later revival. Finally, Shi Tao, a monk from Zhu Ming. Shi Tao is admired by people for his great painting achievements and innovative spirit. In calligraphy, he is also an important figure who advocates the liberation of personality and respects monuments and humble posts. His Eight Signs, "Elegance and Elegance" [13], have an extraordinary style, which provides another brand-new "banner" for later calligraphers to break through the official book barrier since the Jin and Tang Dynasties.
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