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[Inscriptions in the Northern Dynasties (386-58 1)] The general term for inscriptions in the Northern Dynasties is characterized by strong brushwork and strong fonts, which is a model of calligraphy in later generations.
Wei Bei's calligraphy art can be divided into two categories: one is Buddhist sculpture inscriptions; One is a folk epitaph. There are more than 3,000 sculptures in Longmen Grottoes alone, and the famous one is Twenty Carvings of Longmen. Epitaphs were very popular in the Southern and Northern Dynasties, among which there were more epitaphs in the Northern Wei Dynasty than in the previous generation. Calligraphy is characterized by Han Li's brushwork, strict structure, calm brushwork, variety and beauty.
Kang Youwei said that there are ten beauties in Weibei, which summarized the artistic characteristics of Weibei calligraphy, such as vigorous, simple and natural.
Weibei refers to the inscriptions and calligraphy works in the Southern and Northern Dynasties. The existing characters in Wei Bei are regular script, so these regular script inscriptions are sometimes called "Wei Kai". Weibei, also known as the North Monument, was the longest established in the Northern Dynasties. Later, "Weibei" was used to refer to the inscription calligraphy works of the whole Northern Dynasty, including the Eastern Wei Dynasty, the Western Wei Dynasty, the Northern Qi Dynasty and the Northern Zhou Dynasty. These inscriptions mainly exist in the form of "stone tablet", "epitaph", "cliff" and "statue".
There are a large number of works by Wei Bei, including thousands of statues found in Longmen Grottoes. These works are mixed. After finishing by predecessors, some works stand out from them and are regarded as representative works of Weibei.
Twenty items of Longmen, four items of Longmen.
"Longmen Twenty Products" refers to the twenty statues of the Northern Wei Dynasty found in Longmen Grottoes. These works are considered as the representative works of Weibei calligraphy. Kang Youwei of Qing Dynasty first put forward the title of Longmen Twenty Products in Guang Yi Zhou Shuang Tan;
After the inscription on the statue of Gong Ping became the late father of a monk.
Inscription on the statue of Xue Fashao collected by Ling Wei
Inscriptions on 200 statues including Sun Qiusheng and Liu Qizu.
Inscription of Emperor Xiaowen of Yang Dayan
Mrs. Wei Chi, wife of Mu Liangliang, Wang Taiwei of Changle, wrote an inscription for the statue of a dead cow.
Inscription for the Buddha statue of the late husband Zhang Yuanzu
Inscription of the statue of Wang Yuanxiang in Beihai
Inscription of Sima Jie Boda statue
Inscription of Beihai Gao's Sun Baoxiang
The inscriptions on the statue of Yunyang are Chang phthalein, the deceased parents, etc.
Shu Gao's inscription on the statue of the 30-year-old Duke of Porto
Inscription on the statue of a monk's late parents.
The inscription on the statue of Guang Chuan's grandmother Princess Tai is her late husband Helan Khan.
The other 30 people wrote inscriptions for the statue of Emperor Ma Su.
The inscription on the statue of Guang Chuan's grandmother.
Inscription on the statue of mother and son of Beihai King born by monks for Emperor Xiaowen.
The inscriptions on the statue of King Anding are dead ancestors, etc.
Inscription on the statue of Yuan You, King of Qi.
The inscription on the statue of the monk's kindness, inspiration and wisdom
The inscription on the statue of a Taoist priest
There are thousands of statues in Longmen Grottoes, among which the most outstanding works are spread as "four products", "ten products", "twenty-four products" and "thirty products". For example, the first four statues listed above, the inscriptions on statues after the death of father, the inscriptions on statues of Xue Fashao, the inscriptions on statues of Sun Qiusheng and Liu Qizu, are the inscriptions on statues of Emperor Xiaowen, which are collectively called "Longmen Four Products".
Zheng Wengong Monument
This cliff was written by Zheng Daozhao, a calligrapher of the Northern Wei Dynasty, and has always been valued by calligraphers. Ye, a scholar in the Qing Dynasty, said: "His pen is healthy, he can lick rhinoceros and kill dragons and snakes, but he swims vain, all by divine luck. In the early Tang Dynasty, Ou Yu, Chu and Xue were all under the cover, not only the first in the Northern Dynasty, but also only one person since the birth of Shishu. "
Zhangmenglong tablets
This stone tablet is also highly praised by calligraphers. Yang Shoujing, a scholar in the Qing Dynasty, commented: "Calligraphy is chic and ancient, and the odd and the right blend together. Those who are higher than the Tang people in the six generations take this as the reason. " It is considered that the achievement of this Weibei work is higher than that of the Tang Dynasty. Zhao Han, a epigraphist in the Ming Dynasty, pointed out: "Books are healthy and open the door to Europe and danger." Ou Yangxun and Yu Shinan, calligraphers in the Tang Dynasty, were deeply influenced by this monument.
[edit] feature
Wei Bei is a kind of regular script, which is called the three regular script fonts together with Wei Kai, Jin Dynasty regular script and Tang Dynasty regular script. Weibei showed some transitional factors in the development of official script to typical regular script. There were regular scripts in Wei and Jin Dynasties, such as Zhong You's "Xianbiao" and Wang Xizhi's "Huangtingjing", which were relatively mature regular scripts. However, after a large number of intellectuals in the Western Jin Dynasty followed the southern Jin Dynasty, the calligraphy style in the Northern Dynasties was quite different from that in the Southern Dynasties. Most of the existing inscriptions in the Northern Dynasties are written by anonymous folk calligraphers, which is naturally different from the calligraphy style of the so-called "verve-{borrowing}-"of the literati in the Southern Dynasties. Zhong You and Wang Xizhi completed part of the process from official script to official script. The folk calligraphers in the Northern Wei Dynasty did not inherit too many achievements because of the Jin Dynasty's southward crossing, but followed the development track of the original folk calligraphy and evolved directly from the official script in the Han and Wei Dynasties. Compared with the inscriptions in the Southern Dynasties, Liu Xizai, a book critic in the Qing Dynasty, thought that "the book in the south is Wen Ya, and the book in the north is vigorous"; Compared with Tang Kai, Tang Kai pays attention to statutes, and the knot tends to be standardized and unified, while Wei Bei writes freely, and the knot follows the situation and is not bound.
In the Qing Dynasty, Kang Youwei praised Wei Bei's "Ten Beauties" in "Two Boats in Guangyi": "Only the north and the south are ancient and modern, and only Wei is revered. What can you live for? There are ten beauties: one is bold, the other is muddy weather, the third is bold brushwork, the fourth is bold point painting, the fifth is fantastic attitude, the sixth is vigorous spirit, the seventh is full of interest, the eighth is profound knowledge, the ninth is natural structure, and the tenth is rich flesh and blood, which is the only ten beauties in Weibei Nanbei. "
[editor] influence
Wei Bei was discovered earlier, but it has never been taken seriously. In some works of calligraphers Ou Yangxun and Chu Suiliang in the Tang Dynasty, we can see the influence of inscriptions in the Northern Dynasties on them. Because of Li Shiming's admiration for Wang Xizhi's calligraphy, the calligraphy style of Jin Dynasty, represented by Wang Shu, has been the mainstream in the Tang Dynasty. Therefore, on the whole, the regular script in Tang Dynasty inherited the tradition of regular script in Jin Dynasty. Even if Wei Bei was adopted, it was mostly because of the calligrapher's personal interest and style, which failed to form an atmosphere of learning from Wei Bei in general.
The height reached by Tang Kai and its strict laws and regulations made the practice of regular script in later generations procedural and standardized, thus losing creativity. As a result, the four great calligraphers in Song Dynasty, Su Shi, Huang Tingjian, Mi Fei and Cai Xiang, did not have regular script works comparable to those in Tang Dynasty, but mainly devoted themselves to the creation of running script and cursive script. In the Ming Dynasty, a calligraphy style called "Taige Style" appeared because the selection of scholars in imperial examinations became more and more rigid. "Taige" regular script is the official font stipulated by the imperial examination, which pursues beauty and elegance and also requires standards and norms. This requirement inhibits the calligrapher's creative personality. The Qing dynasty further evolved into a "cabinet style" and was criticized by "one thousand people".
Epigraphy rose in the early Qing Dynasty, and a large number of inscriptions were unearthed in the Southern and Northern Dynasties. In calligraphy, people also began to reflect on the disadvantages of "pavilion". Thus, in the Jiaqing and Daoguang years, Weibei began to be valued by calligraphers and calligraphers, among which Ruan Yuan and Bao were the most powerful advocates in the early stage of Weibei, and Kang Youwei was the latter. Ruan Yuan wrote "On the North Monument and the South Sticking" and "On the North-South Calligraphy School", which initiated the "study of steles"; Bao wrote "Two-cylinder Art Boat" and Kang Youwei wrote "Two-cylinder Art Boat", which contradicted the admiration for Chunhua Pavilion posts since the Song Dynasty, and put forward the viewpoint of "respecting monuments and suppressing posts". Kang Youwei clearly put forward in "On Guang Yi and Zhou Shuang": "If you want to respect your post today, you must first respect the monument; If you want to respect the Tang stele, you have to wear it out, and you have to respect the Northern and Southern Dynasties stele. Those who respect it are not based on its antiquity. The strokes are complete, the spirit is revealed and it is easy to copy. Can test the change of Li Kaizhi, and the second is also; Can test the origin of later generations, three also; The structure of Tang Yan, the state of Song Shang, the complete inscriptions of the Six Dynasties, four also; The brushwork is long and engraved, and the majestic corners are overwhelming. In fact, it is both in Tang and Song Dynasties, and it is also five. There are five, not suitable for respect! "Since then, stele learning has become popular, and the value of Weibei has been widely recognized. In addition to adopting the method of "Jin and Tang Dynasties", more and more people began to choose Weibei.
In addition, Wei Bei has been standardized as "Wei Ti", which is one of the most commonly used Chinese printing fonts.