Wang Xizhi is one of the famous calligraphers in my country. His calligraphy has made important contributions to the development of Chinese calligraphy. His cursive calligraphy works have unique artistic features. So, what contribution did Wang Xizhi make to the development of our country? The following is Wang Xizhi’s main contribution that I have compiled for you. I hope it can help you.
Wang Xizhi’s contribution
Almost everyone knows Wang Xizhi’s contribution to the art of calligraphy. After the Song Dynasty, no one criticized him. But Wang Xizhi is called the "Sage of Calligraphy" by later generations, not only for his calligraphy art, but also for his contribution to writing.
Chinese calligraphy has evolved from half-picture and half-character in the early pictographic stage to large seal script, small seal script, and official script. Each change has resulted in a qualitative change from font to glyph. The Zhengshu produced during the Wei and Jin Dynasties was also a qualitative change. The straight strokes and square shape of Zhengshu are the easiest to write and read, and the writing speed is also greatly accelerated. For example, official script and seal script cannot be written too fast. Cursive script can be written quickly, but it is difficult to read. The emergence of Zhengshu is the work of many people. Zhong Yao summarized the method of Zhengshu of his predecessors and developed it, becoming the ancestor of Zhengshu. However, Wang Xizhi further developed on the basis of Zhong Yao, especially his "Le Yi Lun" and "Huang Ting Jing", which were smoother and squarer than Zhong Yao's calligraphy. Zhong Yao's calligraphy still retains a strong sense of official meaning. Wang Xizhi's calligraphy has been removed, and his strokes are more direct, fairer, and sharper. Wang Sengqian's "On Calligraphy" records: "The deceased great-grandfather led the army to Qia Shu and Youjun's calligraphy, both changed to the ancient form, no, To this day, Fa Zhong and Zhang still remain. ?Explain that before Youjun, all calligraphy students learned from Zhong Yao and Zhang Chu. Although Zhong was the ancestor of Zhengshu, after Wang Xizhi learned from Zhong, they all changed to the ancient form and went a step further. Therefore, everyone at that time and later generations also changed their studies. Wang Xizhi, "Lun Shu" records: "Yuzheng Xiyi Shu, when he was young, he was as famous as Youjun." The right army advanced backward, but Yu was still unjust. In Jingzhou, he wrote to the capital: "The children of this generation are humble chickens, they love wild herons, and they all learn a lot and have little education." If I have to return it, I should compare it. ?Children don’t even learn their own famous calligraphy in cursive, and instead learn Wang Xizhi’s calligraphy. Moreover, if it were not for Wang Xizhi, those who studied calligraphy would still be Fa Zhong and Zhang. ?Explain that Wang Xizhi replaced Zhong and Zhang, but no one replaced Wang Xizhi.
Wang Xizhi perfected the Zhengshu, and it has since been finalized and has not changed for thousands of years. From the Southern and Northern Dynasties, Sui, Tang, Five Dynasties, Song, Yuan, Ming, and Qing to the present, only the style of calligraphy has changed, but the style of calligraphy has not changed. Regular script is more formal; running script is more casual. The so-called "Thousands of years of calligraphy is the king's method" refers to the style of calligraphy. After Wang Shu, there were no more reform-style changes in calligraphy like Seal, Li, and Zheng. But the seal script must be changed to Li, and the Li script must be changed to Zheng, otherwise the mail room will be inconvenient. And Wang Xizhi's calligraphy is as perfect as Emperor Taizong of the Tang Dynasty said, so future generations will not change it. This is the reason why Wang Xizhi has always been called the "Sage of Calligraphy". "Xuanhe Shupu" also says: "The change of calligraphy has reached the extreme of Li, but it is still ancient, and the regular script has no antiquity." ?The so-called regular script refers to today’s official script. As a person goes, he will continue to do so. ? He also said: ? Since this book began in the Han Dynasty, it ended at the end of the Western Han Dynasty. The official characters were not engraved, and the official script was mixed here and there. If there are steles such as "Ru Guo", "Feng Yang", "Ru Jun", etc., they can also be examined. The one who came down to Zhongyao of the Three Kingdoms was the "He Ke Jie Biao", which prepared all the laws and regulations and was the ancestor of the official book. The Eastern Jin Dynasty flourished, and its romantic cultural relics surpassed those of previous generations. For example, Wang Xizhi's "Le Yi Lun" and "Huang Ting Jing", as soon as they came out of the world, have become treasures that are now and in the past. ?This passage is very correct, and it tells the difference between being a slave and becoming a righteous person. There is a style of calligraphy that is mixed between official and official texts, such as the steles of "Belonging to the State" (which are no longer visible). Zhong Yao is the master of the collection, and Wang Xizhi went a step further. His official calligraphy is "Unreceivable Treasures of the Present and Past", and the collection of ancient books remains unchanged. This is Wang Xizhi's greatest contribution to writing and calligraphy. Wang Xizhi’s contribution to the art of Chinese calligraphy
Chinese square characters are a unique font in the world. It is this unique square character that has created countless calligraphy artists. From ancient times to the present, calligraphy masters have emerged in large numbers, and literati with lofty ideals who love calligraphy have brought this unique art of calligraphy to its fullest, making our artistic treasures everlasting. Our country's square characters are both practical and aesthetic, truly recording the aesthetic and theoretical characteristics of calligraphy art.
The art of Chinese calligraphy is not only a treasure of the Chinese nation, but also a treasure of the people of the world. It is the unique wealth of mankind and has permanent artistic vitality and artistic charm.
Calligraphy is one of the essences of traditional Chinese art. In the long history of China, the right to education has been monopolized by a few rulers. Therefore, the situation in the early days of calligraphy was very different. From the early oracle bone inscriptions, It can be known that those who have the condition to use words are always the witch histories of a very small number of generations of gods. This gives the text itself a sense of mystery. From the early oracle bone inscriptions and Qin Zhuan (small seal script) of the Qin Dynasty to the later official script, it developed into Zhangcao, regular script, Jincao, etc. The emergence and development of calligraphy art is a long historical process from scratch, from simplicity to complexity. In this extremely long historical process, our sages used their ingenuity to have a new understanding of writing. Calligraphy enthusiasts of all ages wrote the regular square characters according to their own ideas. As time goes by, Calligraphers gradually evolved practical writing into an aesthetic art, allowing people to gain artistic influence and interest in a relaxed and natural way.
Chinese calligraphy has a long history, and in the long history of calligraphy, the person who summed up and established the aesthetic system and rules of calligraphy in the true sense should be Wang Xizhi. With the development of writing in the Wei and Jin Dynasties, calligraphy has already broken away from the function of simple written words and become an ideal carrier to convey the personal charm of calligraphers. At this time, the emergence of Wang Xizhi can be said to have opened up a new era of expressing personal style.
Wang Xizhi was born in a wealthy family and enjoyed high prestige among the upper ruling class. However, Wang Xizhi took these external conditions very lightly. He had the demeanor of a celebrity. He dared to despise feudal ethics and put his personal Taking talent as the most cherished object, Wang Xizhi made a revolutionary breakthrough against the barriers of national will. When he created his own books, he did not have the unified political mission of "book with text". What he cared about was the ultimate meaning of personal existence. The Wei, Jin, Southern and Northern Dynasties were the heyday of the development of calligraphy art. During this heyday, Wang Xizhi was irrigated by art and became a master of ancient and modern calligraphy art.
Wang Xizhi is not only a calligrapher, but also a great calligraphy innovator. Wang Xizhi inherits the past and continues the future in the inheritance of calligraphy. His calligraphy has the style of ancient quality. Zhang Huaiguan of the Tang Dynasty called it "Yao Wen contains quality", and his calligraphy must be moderate. Before Wang Xizhi, the Chinese calligraphy style was inherited from the Han and Wei dynasties, and the modern styles of cursive, running, and regular script had been developed. However, the calligraphy style represented by Zhong Yao and Zhang Zhi had not yet shed all the official meaning, and was naive and simple. Wang Xizhi followed the development trend of calligraphy, introduced the aesthetic taste of the times, and carried out bold reforms based on the careful study of Zhong and Zhang calligraphy. He summarized, digested, absorbed, and innovated the achievements of his predecessors in calligraphy theory and practice, forming a complete set of aesthetic ideas and systems that reveal the inherent laws of calligraphy techniques and theories, and then formed the general theoretical level and techniques. rules on the level. Wang Xizhi also extensively drew useful nutrients from the calligraphy works of the masses since the Han and Wei dynasties, gathered together the creative factors scattered in the calligraphy works of the previous generation and the current generation, and through purification, summary and artistic processing, integrated and unified them into his own new style. In his artistic creation, he introduced Chinese character writing from practicality to a realm that pays attention to technique and taste. Wang Xizhi combined Li, Cao, Kai and Xing styles, studied the style carefully, learned from all the strengths, prepared various styles, and refined them in one furnace. He got rid of the writing style of Han and Wei Dynasties and became his own style. Since then, it has marked that calligraphers not only discovered the beauty of calligraphy, but also were able to express the beauty of calligraphy. Therefore, it also created an era with the richest artistic spirit.
The main characteristics of Wang Xizhi's calligraphy are peaceful and natural, euphemistic and implicit, graceful, strong and beautiful, which is extremely beautiful to watch. Commonly used by people in the world, Cao Zhi's "Ode to the Goddess of Luo": "As graceful as a startling giant, as graceful as a wandering dragon, with glorious autumn chrysanthemums, and luxuriant spring pines." It seems like the moon is covered by light clouds, and the fluttering snow is like the flowing wind. ?One sentence to praise the beauty of Wang Xizhi's calligraphy.
Wang Xizhi is not only a calligrapher, but also a litterateur. His literary attainments are very high. His "Lanting Preface" is a classic of literature and an eternal period in the history of calligraphy. Legendary story: On March 3, the ninth year of Yonghe in the Eastern Jin Dynasty (AD 353), Wang Xizhi and his friends Xie An, Sun Chuo and other 41 people held a grand gathering at Shanyin Orchid Pavilion, during which everyone drank, composed poems and sang. Speak freely of feelings. Half drunk, Wang Xizhi was already drunk and was asked by his friends to write down what happened at the party that night. It was Wang Xizhi who took advantage of his drunkenness to write down his pen on silkworm paper, writing it in one go, and the "Preface to Orchid Pavilion" was born. The next day, after Wang Xizhi sobered up, he saw the "Lanting Preface" on the table and wanted to rewrite the "Lanting Preface", so he went down at his desk and rewritten the original text. After writing, he looked over and over, but couldn't. I feel it is not as sophisticated as the original text. He didn't believe it, so he re-wrote it several times, but he still couldn't get the essence of the original text, and he felt that it was unattainable. It seems that calligraphy creation, like other literary and artistic creations, is accidental. A special artistic effect produced under a specific atmosphere and conditions, it is difficult to reproduce the original appearance and essence even if it is repeated again.
As the preface to this elegant collection, "Lanting Preface", its literary spirit and calligraphy skills reflect the character of the Jin people, and it raises the Chinese literati's perception of the world and nature to a new level. From the profound sense of history conveyed in the preface, we can imagine the inner anguish of the intellectuals at that time. This kind of sense of worry about not being able to live a hundred years, but having the worries of a thousand years will indeed make future viewers feel elegant. And this masterpiece he wrote in his joy has become an eternal masterpiece. The words are so exquisite that it seems to have divine help. The strokes are slow and slow, with ups and downs; the strokes are broken and the meaning is connected, and the rules are strict. The structure is straight and straight, charming and strong, long and short, sparse and dense, so deep that it seems to be straight and even if it is broken, it is still connected. As a result, this masterpiece laid the foundation for Yanmei's evolving new running script style, which has not changed significantly after thousands of years of development, showing its deep and huge influence.
Wang Xizhi pursued art persistently throughout his life, worked tirelessly, strived for excellence, constantly innovated and modified, and determined to surpass his predecessors, his peers, and himself. After decades of struggle and hard work, his calligraphy art finally became unique in the Eastern Jin Dynasty and took the lead in the history of calligraphy. He was hailed as the "Sage of Calligraphy" by future generations. The reason why Wang Xizhi’s calligraphy theory and works are still the best theoretical support and copying model for us to learn calligraphy is because Wang Xizhi’s calligraphy aesthetic system summarizes and reveals the intrinsic laws of the art of calligraphy itself, which is of great benefit to future generations. It has played a universal guiding role in the study of calligraphy art, theory and works, and is highly representative.
In the process of pushing Wang Xizhi's calligraphy to glory, Tang Taizong Li Shimin played an indispensable role. After the Sui and Tang Dynasties unified the country, we can see from the visual field that China's feudal culture was highly prosperous. On the one hand, it relied on unprecedented strong economic strength to enable the court and the people to create spiritual products under the conditions of ample food and clothing. But if people want to find something they don’t have, they require a representative style that is national rather than local. At this time, the calligraphy of Jin people attracted people's attention and interest. Although there are many famous calligraphers in ancient and modern times, in the field of calligraphy, the calligraphy of Jin people has its incomparable superiority. In particular, it aroused Tang Taizong Li Shimin's love for "Er Wang". Most of Wang Xizhi's calligraphy seen today were copied by Tang Taizong's organization. Not only did Emperor Taizong of the Tang Dynasty practice it personally and imitate it with his hands, but the calligraphy of "大王" was the only one that was considered correct. The calligraphers at that time, such as Zhu Suiliang, Yu Shinan, and Ouyang Xun, all came from this style. Emperor Taizong of the Tang Dynasty not only called on the scholar-bureaucrats to practice Wang Xizhi's calligraphy, but also established a calligraphy school, which relied on calligraphy to select scholars, with regular script as the focus. This formed a craze for calligraphers in the Tang Dynasty to pursue the "two kings". It can be said that the power of the ruler's personal hobbies in the development of calligraphy he promoted was powerful and immeasurable. Emperor Taizong of the Tang Dynasty advocated the great king in order to show the emperor's vision and taste. The so-called "careful and upright" personality expression theory established the supreme status of calligraphy in the visual arts in the concept of a generation of kings.
With the emperor's praise, Wang Xizhi's calligraphy art showed unprecedented brilliance and became a model for scribes to emulate.
Nowadays, Wang Xizhi’s ink writings handed down from generation to generation are like stars, and none of the original ones have survived. Although the original calligraphy is no longer available, there are many types of copies that have been passed down through the generations. These copies of ink ink are also copies of famous calligraphers from various dynasties, and they still contain the essence of Wang Xizhi's charm. What is regrettable is that Emperor Taizong of the Tang Dynasty was so fond of Wang Xizhi's calligraphy that he was buried in the Zhaoling Mausoleum with Emperor Taizong of the Tang Dynasty. The "Lanting Preface" that has been handed down from generation to generation is no longer the original work of Wang Xizhi.
Wang Xizhi’s representative works include: "Huang Ting Jing" in regular script, "Le Yi Lun", "Seventeen Posts" in cursive script, "Auntie Posts" in running script, "Quick Snow and Clear Posts", "Sang Luan Posts", " "Preface to the Lanting Collection", "Chu Yue Tie", etc. Everyone knows it, so I won’t say more here. "Preface to the Lanting Collection" is the pinnacle work of his life. His subsequent works have not surpassed the artistic level of "Preface to the Lanting Collection". "Preface to the Lanting Collection" has been admired by calligraphers of all generations and is known as the best running script in the world. ?.
Wang Xizhi was the first person to liberate the art of Chinese calligraphy from practical and utilitarian purposes, and his choice of calligraphy as the best form of personal expression effectively illustrates its leading role in Chinese cultural tradition. Due to the high regard of Wang Xizhi by the highest ruling class, the "Tie Xue Movement" developed after the Northern Song Dynasty to expand Wang Xizhi's influence. The pros and cons of visual culture in the process of popularization can be explained from "Tie Xue". They have nothing to do with Wang Xizhi himself. No matter how far away people are from the authentic calligraphy of Wang Xizhi, Wang Xizhi has become the embodiment of Jin calligraphy and the ideal idol for everyone who likes the art of calligraphy.
Wang Xizhi not only completed the finalization of Chinese calligraphy, but also completed a major transformation of Chinese calligraphy art. Wang Xizhi's calligraphy has had a profound impact on ancient and modern times, both at home and abroad. Wang Xizhi's calligraphy art is the unique wealth of mankind. Wang Xizhi's calligraphy is loved and admired not only at home, but also overseas. As China's politics and culture have become highly developed, a wave of "Chinese style" and "Chinese-flavored new fashion" have spread abroad. With the development of cultural and artistic exchanges between China and foreign countries, Chinese calligraphy has become more and more influential in the world, and calligraphy art has aroused great interest from foreigners. Therefore, foreign research on our country's calligraphy art has continued to reach an upsurge. Scholars who study Chinese calligraphy in Japan, South Korea, Southeast Asia and other countries have always worshiped Wang Xizhi and regarded him as a god. And there are quite a few people who are experts or researchers in writing "Wang Shu". The art of calligraphy is not only a treasure in the treasure house of Chinese national art, with immortal charm, but also enjoys an immortal position in the history of world calligraphy. It is loved by many countries and nations in the world, and has had a wide and far-reaching influence in the world. . Southeast Asian countries such as Japan, South Korea, and Vietnam all highly respect the art of Chinese calligraphy. This shows that Chinese calligraphy is not only very popular, but also widely and deeply studied. Representative works of Wang Xizhi's calligraphy
The best calligraphy of Wang Xizhi's life is "Preface to the Lanting Collection". That was his work in middle age.
There was a custom in the Eastern Jin Dynasty that on March 3rd of the lunar calendar every year, people had to go to the river to play in order to eliminate bad luck. This is called [xiucai]. On March 3 of the ninth year of Yonghe, Wang Xizhi and some literati, numbering forty-one, went to the riverside of Lanting to repair. Everyone drank and wrote poems.