This is a famous calligraphy theory written by Liang Xian, a calligrapher of the Qing Dynasty, in "Pingshu Tie". Because of its highly accurate summary of the artistic characteristics of calligraphy in these dynasties, it was praised by later generations. Respected.
"Jin people value charm", which means that the calligraphy art in the Wei, Jin and Southern Dynasties paid attention to style and charm. The calligraphy at that time respected "the spirit first, the form second", most of them It shows an elegant, refined and graceful style. The representative is the calligraphy of the two kings. Yuan Ang commented on Wang Xizhi's calligraphy in "Ancient and Modern Book Review" as: "Like the children of the Xie family, even if they are not upright, they have a refreshing feeling." Xiao Yan commented on Wang Xian's calligraphy in "Commentary on the Pros and Cons of Ancient and Modern Calligraphers": "It is so outstanding that no one can imitate it, just like the young men in the first lunar month of Heshuo. (Note: Nai means capable.) The charm and style exuded by the calligraphy art of the two kings reflect the characteristics of the Jin Dynasty's calligraphy with its unique artistic charm. "Shangfa in the Tang Dynasty" means that the calligraphy of the Tang Dynasty The general tendency of calligraphy in the Tang Dynasty is to attach importance to legal rules. Calligraphers in the Tang Dynasty summarized the calligraphy of their predecessors and implemented standardization and refinement in the structure and use of calligraphy. For example, Ouyang Xun's "Thirty-six Methods" and "Eight Jue" , Emperor Taizong of the Tang Dynasty's "Brushwork Techniques", Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Brushwork", Zhang Huaiguan's "Ten Methods of Using the Brushwork" and "Yutang Forbidden Scripture", Lin Yun's "Four-Character Method of Pulling the Stirrup", and the most recent works The "Eight Methods of Yongzi" and "Five-Character Writing Method" that are highly praised by people. Therefore, the regular script of the Tang Dynasty shows the trend of equal size, flush top and bottom, and regular writing. Even the more free and romantic cursive script is gradually abandoned. Jin people used both side-stroke brushwork and pursued pure center-stroke brushwork. In the atmosphere of advocating legality, the strict and strong "Tang Kai" and the bold "Kangcao" appeared, which reflected the pioneering and progressive spirit of the Tang Empire. "People in the Song Dynasty advocated free will", which means that the calligraphy of the Song Dynasty pursued interest and interest rather than strict rules. Su Shi said: "Poems do not seek technical skills and are not strange, and innocence is my teacher." Huang Tingjian also said: "The old man's There is no way to write a book, so I don't choose pen and ink. When I encounter paper, I write, and when the paper is exhausted, I don't care about the clumsiness of work and the taste of others." Mi Fu said: "Studying books requires fun, and he forgets all his hobbies. , is the essence of beauty, if you just linger on it, you will not be good at it." Dong Kui also said: "The most important thing about calligraphy is to get the meaning of the brush. If you stick to the law, just follow what the Tang Jing taught, and it is not as good as the ancients. Come back." These fully demonstrate that the calligraphers of the Song Dynasty did not adhere to ancient methods and advocated freehand artistic ideas. This idea can be seen in their representative works, such as Su Shi's "Huangzhou Cold Food Poems" and Huang Tingjian's "Zhu Shang Zu Tie" " and Mi Fu's "Hongxian Poems" are fully reflected. "Yuan and Ming Shangtai" refers to the calligraphy fashion in the Yuan and Ming Dynasties, which focuses on imitation and pays attention to the shape of the characters. Calligraphy trends During the Yuan and Ming dynasties, a period of retrospection entered, and calligraphy scholars imitated the Jin people one after another and turned to engraved calligraphy. Zhao Mengfu said: "The characters are passed down from generation to generation, and it is difficult to use a pen through the ages." That is to say, he believes that the structure of characters is different. The form can change with the times, but the writing methods of the ancients should remain unchanged. This idea of ??Zhao Mengfu is regarded as a golden rule, so most calligraphers in the Yuan and Ming dynasties used the writing methods of the Tang Dynasty to write about the appearance of people in the Wei and Jin Dynasties, forming a calligraphy style that only focused on There is a general trend of deliberately pursuing the best in glyphs.
Of course, the Shang Yun, Shang Fa, Shang Yi, and Shang attitude proposed by Liang Xi here are mainly a summary of the characteristics of calligraphy in these periods, not necessarily It is said that rhyme, method, meaning, and attitude are isolated and not connected in these periods. For example, in the Tang Dynasty, when "law was respected", there were also works that respected meaning such as Yan Zhenqing's "Manuscript for Memorials to My Nephew". In the late Ming Dynasty, Fu Shan The calligraphy of Wang Duo, Huang Daozhou, Ni Yuanlu and Zhang Ruitu cannot be evaluated in terms of "shangzi". The calligraphy of Huang Tingjian in the Song Dynasty not only has "meaning", but also emphasizes "rhyme". It's just that they do not represent the mainstream of the times.
(Source: Internet)