In ancient Chinese literary theory, ancient calligraphy theory is an extremely important component, and it is also the most precious legacy in our country's art theory.
Relatively speaking, the emergence of ancient calligraphy theory was later than the formation of calligraphy art. According to the information currently available, ancient calligraphy works first appeared in the Han Dynasty. Yang Xiong, a scholar and writer from the Western Han Dynasty, put forward a famous conclusion in his "Fayan: Asking the Gods": "Books are also paintings from the heart." Although "calligraphy" here does not specifically refer to calligraphy, it was the earliest discussion It clarified the fundamental propositions of Chinese calligraphy theory - the relationship between calligraphy and the calligrapher's thoughts and feelings, and the expressive characteristics of calligraphy art. It had a profound impact on later generations of calligraphy creation and calligraphy theory, and became a keystone in the history of Chinese calligraphy theory. source.
The Han Dynasty was the initial period of ancient Chinese calligraphy theory. As the art of calligraphy matures and flourishes, theoretical works specializing in the study of calligraphy have emerged. The earliest article discussing calligraphy is "Cursive Script Shi" by Cui Yuan, a calligrapher of the Eastern Han Dynasty. In the article, Cui believes that the emergence of cursive script is a reflection of the social needs of moving from complexity to simplicity, and describes and praises the morphological and dynamic beauty of calligraphy. Fully affirmed the artistic aesthetic function and value of calligraphy. After this, several important works on calligraphy appeared, such as Zhao Yi's "Fei Cursive Script", Cai Yong's "Seal Script", "Bi Fu", "Bi Lun", "Nine Movements", etc. In particular, the great calligrapher Cai Yong's "Bi Lun" and "Jiu Shi" occupy an important position in the history of Chinese calligraphy.
The Wei, Jin, Southern and Northern Dynasties were the mature period of ancient Chinese calligraphy theory. During this period, the art of calligraphy flourished and a large number of famous calligraphers emerged. The development of calligraphy art has also led to the research of calligraphy theory. During the Western Jin Dynasty, a number of theoretical works appeared that used the various objects and dynamics in nature to describe and compare the beauty of various calligraphy styles, such as Cheng Gongsui's "Lishu Style", Wei Heng's "Four-body Script", Suo Jing's Liu Shao's "Cursive Script", Liu Shao's "Fei Bai Shi", Yang Quan's "Cursive Script Fu", etc. show an aesthetic trend of "shangxiang". During the Eastern Jin Dynasty, calligraphers were no longer satisfied with describing the external form of calligraphy, but began to explore the rules of brush use, structure and composition techniques, and paid attention to the relationship between human subjective will and calligraphy. For example, Mrs. Wei's "Bi Zhen Diagram" written by Shi Chuan, Wang Xizhi's "Inscribed on Mrs. Wei's Bi Zhen Diagram", "Book Theory", "Brush Movement Theory", "Using Brush Writing", "Recording the Calligraphy Secrets of Mr. Baiyun", etc., are all An important book on this subject. By the Southern and Northern Dynasties, influenced by the current trends, people began to pay attention to the comments on various calligraphers. Influential works in this area include Yang Xin's "Collecting Names of People from Ancient Times", Yu He's "On Book Tables", Yu Jianwu's "Book Products", etc. In particular, Wang Senglu's calligraphy treatises such as "Book Fu", "On Calligraphy", and "Praise for the Brushwork" focused on exploring the process and characteristics of calligraphy creation, which had a profound impact on the development of calligraphy art in later generations.
The Sui and Tang Dynasties were the flourishing period of ancient Chinese calligraphy theory. Although the Sui Dynasty was established for a short period of time, its calligraphy inherited the inscriptions of the Southern and Northern Dynasties and inspired the regular script schools of the Tang Dynasty, laying the foundation for the establishment of the regular script style of the Tang Dynasty. His calligraphy theory also focuses on exploring the brushwork and structure of regular script. Zhiyong's "Eight Methods of Yongzi" and Zhiguo's "Ode to the Heart" are representatives in this regard. As the art of calligraphy reached its peak in the Tang Dynasty, great calligraphers and famous calligraphers emerged in large numbers, and calligraphy theory also flourished. A large number of systematic and weighty calligraphy treatises were published one after another, discussing detailed techniques and analyzing the rules of calligraphy creation. Gradually replacing the elaboration of the overall impression of calligraphy art, it covers all aspects of calligraphy art and embodies the trend of "advocating law" in the Tang Dynasty. Ouyang Xun's "Thirty-Six Methods", Sun Guoting's "Book Book", Zhang Huaiguan's "Book Discussion", "Letters", "Book Breaks", "Character Theory", "Six-Titan Calligraphy Theory", "On Use" "Ten Methods of Writing", "Shu Shu Fu" by Dou Xie and Dou Meng, "On Shu" by Xu Hao, "Twelve Meanings of Zhang Changshi's Writing Method" by Yan Zhenqing, "Yaolu of Fa Shu" compiled by Zhang Yanyuan, etc. A representative work of calligraphy during this period. In particular, Ouyang Xun's "Thirty-six Methods", Sun Guoting's "Book Book", and Yan Zhenqing's "Twelve Meanings of Zhang Changshi's Writing Method" occupy an important position in the history of Chinese calligraphy theory.
The Song Dynasty was a period of change in ancient calligraphy theory. Due to various reasons, the calligraphy of the Song Dynasty could not be compared with that of the Tang Dynasty, but it was able to find another way, and calligraphy became popular for a while. Moreover, there have been innovations and developments in calligraphy theory. People in the Song Dynasty advocated that calligraphy creation should not be bound by laws and regulations, and should not worry about specific methods such as stippling and layout. Instead, it should pay attention to the wind and spirit in the works and the inner spirit and temperament of the calligrapher, freely express his thoughts and strive for innovation. .
It is a reflection of the "Shangyi" calligraphy style of the Song Dynasty. Zhu Changwen's "Continued Book", Su Shi's "Lun Shu", "Dongpo's Inscriptions and Postscripts", Huang Tingjian's "Lun Shu", Mi Fu's "History of Books", "Haiyue Famous Sayings", Jiang Kui's "Su Pu" etc., are all representative works of calligraphy during this period. "Sushupu" is particularly systematic and sophisticated, and has been highly praised by calligraphers of all ages and has a huge influence.
The art of calligraphy in the Yuan and Ming dynasties was still popular, and it had not yet gotten out of the trough of calligraphy creation. In terms of calligraphy theory, by inheriting the methods of the Jin and Tang Dynasties, the "Shangyi" calligraphy style of the Song Dynasty was denied, and then the morphological beauty of calligraphy art was emphasized, and the styles of the Wei and Jin Dynasties were highlighted. Calligraphy theory in the Yuan Dynasty mainly focused on laws and regulations. Representative treatises include "Yanji" written by Zheng Piao and Liu Youding's annotations, and "Hanlin Essentials" written by Chen Yizeng. Calligraphy in the Ming Dynasty emphasized advocating elegance and advocating both physical strength and aesthetics. Tao Zongyi's "Book History", Fengfang's "Book Jue", Xiang Mu's "Calligraphy and Elegance" are his representative works.
The Qing Dynasty was a period when ancient calligraphy theory carried forward the past and opened up the future. Since the middle of the Qing Dynasty, a clear separation pattern has gradually formed between the study of calligraphy and the study of stele. Moreover, the study of calligraphy has gradually turned from prosperity to decline, while the study of stele has become increasingly prosperous. Therefore, in the early stage of calligraphy theory, emphasis was placed on the elucidation of brush and ink techniques. Representative works include Da Chongguang's "Shu Raft" and Zhu Luzhen's "The Essentials of Calligraphy". The later period mainly focused on the discussion of the theory of stele studies. Ruan Yuan's "On the Northern and Southern Calligraphy Schools", "On the Northern and Southern Steles", Bao Shichen's "Yi Zhou Shuang Ji" and Kang Youwei's "Guang Yi Zhou Shuang Ji" are these Representative works in this regard, and formed a trend of suppressing inscriptions and respecting monuments, emphasizing the north over the south. Liu Xizai's "Yi Gai·Shu Gai" summarizes the characteristics of calligraphy styles in the north and the south respectively, emphasizing that they have their own strengths, which is more fair and objective. Not only that, "Calligraphy" also provides a comprehensive, systematic and essential theoretical summary of the history of ancient Chinese calligraphy art, the history of the evolution of calligraphy style, and the techniques and styles of calligraphy art. These treatises occupy an important position in the history of ancient Chinese calligraphy. They provide a comprehensive and systematic summary of the theory and practice of steleology in the Qing Dynasty, and promote the development and prosperity of calligraphy art in the Qing Dynasty. And it had a profound impact on the development of modern calligraphy. The general outline of the development of ancient Chinese calligraphy theory is as mentioned above. It is not difficult to find the following outstanding features:
First of all, it attaches great importance to the summary and guidance of aesthetic trends. Generally speaking, a society must have a social fashion, and this social fashion will inevitably affect all aspects of social culture; and the welcome or resistance of this fashion by various social and cultural aspects will inevitably directly affect this trend. The rise and fall of social fashions. Similarly, the aesthetic style of calligraphy art in different eras is also different. How to guide this aesthetic trend and make it become the dominant aesthetic trend of this era has become a matter of concern and discussion by calligraphers in various eras. For example, "Shang Xiang" in calligraphy commentaries in the Han and Wei dynasties, "Shang Yun" in calligraphy commentaries in the Jin Dynasty, "Shang Fa" in calligraphy commentaries in the Tang Dynasty, "Shang Yi" in calligraphy commentaries in the Song Dynasty, etc., all of which are references to the calligraphy art of each era. A summary of aesthetic trends in practice, which in turn guides the practice of calligraphy creation and promotes the development and prosperity of calligraphy art.
Secondly, the research on the art of calligraphy is comprehensive and systematic. As long as we take a rough look at the theoretical works on ancient Chinese calligraphy, you will see that the research and summary of calligraphy art in ancient my country is comprehensive, involves all aspects of calligraphy art, and is self-contained. If you compare it with ancient Chinese painting theory, this feature will be even more evident. For example, the study of the development history of calligraphy began with Song Yangxin's "Cai Gu Lai Can Call People's Names" in the Southern Dynasty. Since then, there have been a number of such works in almost every dynasty. They discuss the history of the development of calligraphy from ancient times to the late Qing Dynasty, preserving the complete history of the development of Chinese calligraphy. Another example is the study of the evolution history of calligraphy styles, which discusses the emergence, development, changes, concepts, characteristics and other aspects of calligraphy styles such as large seal script, small seal script, Bafen, regular script, running script, Zhangcao and Jincao, etc., which is systematic and comprehensive. Another example is the study of calligraphy techniques, which is also extremely profound and comprehensive. All aspects of the use of the pen, the use of the edge, the holding of the pen, the use of ink, the use of white cloth, etc. are all studied in detail and meticulously.
Thirdly, pay attention to the relationship between book quality and character. As early as the Western Han Dynasty, Yang Xiong put forward the famous view that "calligraphy is the painting of the heart", believing that calligraphy works of art are a direct reflection of the calligrapher's ideology, morality, and taste. This view had a profound impact on later generations.
Zhu Changwen, a calligraphy critic of the Northern Song Dynasty, believed in his "Sushu Duan" that the quality of a person's calligraphy art is closely related to his character cultivation. He gave an example: "Lu Gong can be said to be a loyal minister...his hair "Yu Bihan is resolute and majestic, and he is strict and disciplined. He is like a loyal minister and a righteous man. He is upright and unstoppable in the face of important events. Yangzi said that he takes books as his heart and paints them." This actually means Yan Yan. His dignified and vigorous style comes from his high moral integrity. Liu Xizai, a great modern calligrapher, said more clearly in "Yi Gui·Shu Gui": "The calligraphy is like it. It is like its learning, its talent, its ambition, in short: it is just like the person." He believes that through calligraphy, not only can we see The calligrapher's "learning", "talent" and "ambition", and you can imagine the calligrapher himself. A good character must be a good book.
In addition, he is good at using vivid metaphors to express the feelings of the appraiser, so as to fully demonstrate the interweaving of multiple psychological activities during the appreciation process. As early as the Eastern Han Dynasty, Cai Yong's "Bi Lun" used rich and beautiful metaphors to emphasize that the style of calligraphy creation should integrate various vivid forms of nature. Since then, calligraphy commentators of all dynasties have continued this tradition. For example, Sun Guoting wrote in "Shupu": "Observe the strangeness of a man's dangling needle, the strangeness of thunder and falling rocks, the frightening nature of flying beasts, the frightened state of luan dancing snake, the momentum of the cliff and the collapse of the peak, in the face of danger. According to its shape, it may be as heavy as a collapsing cloud, or as light as a cicada's wing; when it is directed, the spring will flow, and when it is stopped, the mountain will be peaceful; it is as slender as the first moon rising from the cliff in the sky, and falling like a row of stars..." Here, the author uses a series of vivid metaphors - actually metaphors - to compare the wonderful scenes of Zhong Yao, Zhang Zhi and Er Wang's calligraphy, so that people can gain a perceptual understanding and facilitate understanding. There are countless such examples.
Li Si·Using the pen
The way I use the pen is to return quickly first, then return quickly; like an eagle watching a passing peng, I believe it is natural and cannot be changed again. When you send your feet, you are like a fish swimming in water; when you dance with your brush, you are like the clouds rising in the landscape. It may be curled or relaxed, sometimes light and sometimes heavy. If you are good at thinking about it, you should be able to see it yourself.
Zhao Yi·Fei Cursive Script
Liang Kongda and Jiang Mengying among the scholars in Yujun County, both of whom were great scholars of the time, however admired Zhang Sheng’s cursive script more than Xi Kong and Yan Yan. Kongda wrote a book to express his gratitude to Meng Ying. He recited his text orally and wrote his chapters in regular script without any signs of laziness. So the disciples of later generations admired the two wise men, kept the order and wrote articles, and others compiled a volume, thinking it was a secret play. I am afraid that they will memorize the sutras and become vulgar, which is not the reason for promoting Taoism and rejuvenating the world. I also want to be dissatisfied with what Luo and Zhao saw, so I wrote the end of the cursive script to comfort Luo, Zhao, Xiliang, and Jiang Yan.
Purchasing the book written by Youdao Zhang Jun and Zhu Shijun, it is said that righteousness can eliminate evil, people have no side, and monsters do not come from themselves. Sincerity can be said to be a person who believes in the truth, knows destiny and is happy with heaven. If you praise Du, Cui, Juluo, Zhao, or Xinxin who have the intention of criticizing yourself, it is nothing but a pity, and you should belittle them and value me! Is the rise of cursive script in recent times? The upper part is not hung by the heavenly phenomena, the lower part is not vomited by the rivers and rivers, and the middle part is not made by the saints. At the end of the Qin Dynasty, the punishment network was dense, the official documents were redundant, the wars and attacks were carried out simultaneously, the military documents were exchanged, and the feathers were flying, so it was the official grass, which was quick and easy to show the simple fingers, which was not the profession of a saint. But it is expensive to delete, difficult to save trouble, and the loss is easy to restore. It is easy to obtain and know, which is very etiquette. Therefore, he praised: "According to the appropriate situation." Nowadays, those who learn cursive calligraphy do not think about its simple purpose, but just think that Du and Cui's method is the same as Guilong's. His body is supported by a leaning stick, and he can't lose it by interrogating Long Yi. For those who have more than teeth, if they are willing to study, they will abandon Cangjie and Shi Zhen, and use Du and Cui as their regular scripts. When I write to them in private, each book says: "The time is right and the pressure is fast, so it is not as good as Cao." Herbal medicine is easy and fast, but now it is difficult and late to counteract it, and there are many mistakes.
Mortals have different qi, blood, muscles and bones. The heart is sparse and dense, and the hands are clumsy. The book is so ugly, how can it be strong? If people have good and bad looks, how can we learn to look alike? In the past, Xi treated her with heart rash, holding her chest and frowning, and all the fools tried to do it, which only made her uglier. The Zhao girl was good at dancing, and her steps were charming, but the scholar could not get it, and she lost her integrity and prostrated. Fu Du, Cui, and Zhang Zi all had extraordinary talents. They were erudite and idle in their spare time, and they were admired by future generations. Dedicate yourself to your task, dig deep and look high, forget your fatigue, be vigilant at night, and have no time to eat. A stroke of ten days, a few months of ink. Even though he was sitting in a crowd, he was still talking about drama and painting. He was plowing the walls with grass, his arms were scraped through the skin, his fingers and claws were broken, and his gills were bleeding, and he kept stopping. However, it is not helpful for clumsiness in craftsmanship. It is also like the imitation of a frown that makes a person look uglier, and a person who is learning to walk loses his integrity. And the person who writes cursive script has a good ear. The villages and towns do not have this ability, the imperial court does not use this to appoint officials, the doctor does not use this to teach exams, the four subjects do not use this to prepare for, recruitment does not ask for this, and the performance appraisal does not teach this word. Goodness does not reach the point of governance, but clumsiness does not harm governance. Isn't it too subtle to say this? Those who care about the inside will be outside, and those who have small ambitions will neglect the big. Looking down to pick up lice, I have no time to see the sky. The vastness of the heaven and earth cannot be seen, and even those who are sharp and skilled in gnats have no time to spare.
If I have studied this chapter carefully and thought hard, how can I apply it to other scriptures, to review the laws of association, to push forward the progress, to explore the depth of the treasures, to praise the gods, to see the heart of the heaven and the earth, and to promote the feelings of the saints? . In the analysis of doubts, the differences between vulgarity and Confucianism are analyzed. Adhere to the righteous way and avoid the heresy, and be happy with the solemn voice of elegance, which will lead to the harmony of virtue and the xuanqing of grand ethics. If you are poor, you can keep your body and name, and if you are rich, you can respect the Lord and achieve peace, so that you can live in this world and serve as a permanent reference for future generations. Isn't it wrong?
Cui Yuan·Cursive Script
The rise of calligraphy began with Emperor Jie; he wrote the traces of birds to finalize the article. At the end of the Yuanji period, the classics became more numerous; the times were secluded and the government had many powers. The official affairs were desolate, and Mo Han was suppressed; but there were many assistants and officials, and the old characters were deleted. The method of cursive writing is simple and simple; it can be used to indicate when the situation is right. Use both functions at the same time, love the day and save effort; the change of pure frugality does not have to be the ancient style. Observe the image of the Dharma, the pitch is correct; the square is not square, and the circle is not regular. Suppressing the left and raising the right, looking at it like a dream. The beasts and birds are determined to fly; the cunning rabbits are so frightened that they are about to run but have not yet galloped. Or □□ dot □, like a string of beads; never separated. Animals are angry and depressed, and they are surprised when they let go. Or if Lingsui is worried about the chestnut, if it is close to a high position and is in danger, there will be some evil spots on the side, like a praying mantis hugging a branch. The last stroke is finished, but the remaining knot is tangled; if the mountain bee poisons, look at the gap and the edge; if the snake goes to the hole, its head is missing and its tail is hanging. Therefore, if you look at it from a distance, you will see that it is as if it is running towards the shore; if you look at it from a distance, you will not be able to move it in one stroke. A few subtleties are important, so take the appropriate measures for the time being. A little bit of a big comparison, just like Ruos.
Xu Shen·Shuowen Jiezi Preface
In ancient times, Bao Xi was the king of the world. He looked up to see the images in the sky, looked down to see the laws on the earth, and saw the birds and beasts. The appropriateness of the text and the place was taken from all the bodies, so I started to write the Eight Diagrams of "Yi" to hang the image of the constitution. And Shen Nong's knotting ropes to regulate his affairs, the common people's industry multiplied, and false pretenses emerged. Cangjie, the historian of the Yellow Emperor, saw traces of the hooves of birds and animals, and knew that principles could be distinguished from each other, so he first made a written contract. "Hundreds of work are carried out, thousands of products are inspected, and all the merits are built"; "the merits are promoted in the king's court". The person who speaks the words preaches and makes the message clear to the king's court. A gentleman should give money and wealth to his subordinates, and a virtuous person should avoid it. When Cangjie first wrote books, they were based on pictograms, so they were called wen. Then the shape and sound complement each other, which is called the word. Literature is the basis of physical images; words are the basis of words and expressions. The book written on bamboo and silk is like the one who wrote it. Since the time of the Five Emperors and Three Kings, the body has been changed. There are two generations of those who have been granted the title of Mount Tai, and they all have the same origin.
Cai Yong · Seal style, brush theory, nine styles
Seal style
The beginning of calligraphy and painting was due to the traces of birds, and Cangjie followed the saints and made them. arts. There are six seal characters in the body, which must be wonderful and fascinating. Some have turtle-like characters, some have dragon scales, their bodies are thin and their tails are small, their wings are long and their bodies are short. It is as droopy as millet and millet, and it is as dense as insects and snakes. The waves are trembling, the hawks and birds are quaking, their necks are extended to join their wings, and their momentum is like flying clouds. Or cast inward with a slight movement, the root is slightly thick and the end is thick, if disconnected, if connected, like exposed silk, hanging down at the lower end. The one who follows is like hanging, the one who is balancing is like weaving, the wandering is not square or round, it is like walking or flying, it is like a crawling worm.
Looking at it from a distance, it looks like a flock of swans traveling in a continuous stream. Looking at it forcefully, you can't see the turbulent water, pointing to the invincible source. Studying mulberry leaves cannot count the grievances and grievances, leaving Lou cannot see the gaps. Ban Tui bows and gives in and speaks skillfully. He chanted and bowed his hands. The first chapter of the book is charming and charming. He is as gorgeous as Wan Su, and is a fan of learning arts. Jia Wende's Hongyun is not published by the author. Think about the pitch of the font and discuss it briefly.
Bi Lun
The writer is scattered. If you want to write, first let go of your arms and let your emotions run wild, and then write. If you are forced to do something, even if you are a powerful rabbit in Zhongshan, you will not be able to do well. To write a book, first sit silently and meditate, do as you please, no words come out, no breath, no breath, and a deep expression, as if you are treating the Supreme Being, then there is nothing wrong with it.
It is the body of the book and must fit into its shape. If you sit or walk, if you fly, if you move, if you go, if you come, if you lie down, if you get up, if you are sad, if you are happy, if you are insects eating wood leaves, if you are a sharp sword with a long spear, if you have a strong bow and a hard arrow, if you are water and fire, if you are clouds and mist, if you are the sun. moon. Only when there is something resemblable vertically and horizontally can it be called a book.
Nine Potentials
Hushu originates from nature. Once nature is established, yin and yang are born. Once yin and yang are born, the situation emerges. Hide the head and protect the tail, the country is in it, write hard, the skin is beautiful. Therefore, it is said: The power coming is irresistible, and the power going is irresistible. But if the pen is soft, strange things will happen.
When writing and concluding words, the upper ones cover the lower ones, and the lower ones support the upper ones, so that their situations reflect each other and there is no backing up.
When writing, it is advisable to review left and right, so as not to expose the program alone.
Hidden front, point out the traces of entry and exit. If you want to go left, go right first, and then return to the left.
Hidden head, the round pen belongs to the paper, so that the center of the pen can always move in the dot painting.
Protect the tail, draw a few points to use up all the potential, and use all your strength to close it.
The disease comes from the pecking, and also from the tight waist of the vertical pen.
The purpose of using a brush is to use it sharply and sharply.
Astringent momentum lies in the method of fighting closely.
Horizontal scales and vertical strangles.
This is called the Nine Movements. Even if you don’t have a teacher to teach you, you can still master it in harmony with the ancients. It takes a lot of skill in calligraphy and ink to create a wonderful scene