Liu Xinghua
There are frequent wars in the three countries, which is an era of political chaos, but the people's thoughts, culture and art have achieved unprecedented diversified development. Since the Three Kingdoms, the art of calligraphy has entered a period of conscious development, continuing the torrent of the late Han Dynasty, and a large number of avant-garde calligraphers have emerged. Official script prevailed in Han dynasty, and the development of official script in the Three Kingdoms period was at a low point. Although there is little difference between the stone carving calligraphy in the Three Kingdoms period and the official script carved on the tablet at the end of Han Dynasty, the font tends to be square and the characters tend to be vertical. Therefore, the Three Kingdoms is a transitional period from official script to regular script. The main characteristics of the development of calligraphy in the Three Kingdoms are transitional, which are shown in the following three aspects: First, as far as related systems are concerned, many systems formulated in the Three Kingdoms period are important influencing factors for the later development of calligraphy. Secondly, in terms of the evolution of fonts, the development of letters and lines was in the Middle Ages during the Three Kingdoms period. Thirdly, judging from the calligraphers' situation, many calligraphers in the Three Kingdoms period actually grew up in the late Han Dynasty, while many calligraphers who grew up in the Three Kingdoms period entered the Western Jin Dynasty, so the characteristics of inheritance are very prominent.
First, an overview of Sun Wu's calligraphy in the Three Kingdoms period
Wu, located in Jiangdong, has not been established for a long time, his calligraphy is dangerous and mysterious, and he is full of Chu style; Painting in Wei and Jin Dynasties "inherited the legacy of the late Han Dynasty" (in Pan Tianshou), and Wu calligraphy also inherited the Han Dynasty. At that time, official script or seal script was engraved on the tablet. The official script of Wu in the Three Kingdoms is mostly straight, and the strokes are very similar to regular script if they are not wavy. Although the number of inscriptions on Sun Wu is small, its calligraphy value and historical position are high. Sun Wu's inscriptions handed down from generation to generation include Temple of Heaven Monument, National Mountain Monument, Gulang Monument and Gezuo Monument. Wu has made considerable achievements in cursive script, regular script and official script, especially several important inscriptions are the predecessors of regular script. Among them, Gulang tablet has a very special cultural position in the history of calligraphy in China, and it is actually the first existing regular script tablet in China. The inscription font of Gulangbei comes down in one continuous line with the official script in the mature period at the end of Han Dynasty, with neat structure, strong brushwork and unrelenting simple and honest style, which has a sudden rise, and its charm still exists in Jin Dynasty. In fact, Gulangbei opened the forerunner of the book style in Wei and Jin Dynasties, and it was far-reaching. During the Three Kingdoms period, Wu's calligraphy was in a period of alternation between old and new calligraphy styles. First of all, Wu calligraphy and Zhongyuan calligraphy coexist, which has an important historical position. Secondly, Wu calligraphy is divided into "Wu Shishu" and "vulgar calligraphy". "Wu Shishu" has two sides. As can be seen from the inscription, it has both inheritance and development. The phenomenon of official script changing from official script to official script reflects the aesthetic ideal and interest of people pursuing simplicity and beauty at that time. Third, Wu's calligraphy has a far-reaching influence on later calligraphy. Calligraphers of "stele study" in Qing Dynasty tried to change the disadvantages of "tiexue" calligraphy style, and they borrowed from the past resources, including calligraphy in this period. It can be seen that Wu's calligraphy played an important role in the history of calligraphy in the Three Kingdoms period.
II. Introduction to Gu Lang and his Monument to Gu Lang
Gu Lang (2 18—272) was born in Guiyang County (now Leiyang County, Hunan Province). Outstanding statesman and strategist in the Three Kingdoms period. Gulang was born in an official family. He lost his mother at the age of three and his father at the age of eleven. He and his brother served their stepmother together, being friendly and filial. He is sometimes called "Zeng Shen". At the age of twenty, he became an official in Wu and a county magistrate. For three years (240 years), Wu Chiwu promoted filial piety and selected talents as Yang Anchang. Because of his good governance, his achievements were the best. When his term expired, he was transferred to Wang Fu. He has served as a doctor, secretary, historian, county magistrate and Liuyang order in Changsha. When he governed Liuyang, he cared about the sufferings of Li Shu, took kindness for the people, and won the love of Liuyang citizens. Soon, Heshang was transferred as a cardinal who participated in government affairs. Gulang has a high reputation for being honest and cautious. Won the appreciation of Emperor Wu, and was promoted to a captain of Guangzhou. He set an example, defending the territory, resisting foreign invasion, ensuring the frontier cleaning and the people living and working in peace and contentment. Later, he was transferred to North Korea, where he became a doctor of ENT and moved to Dazheng, specializing in inspecting talents. In November, the first year of Jianheng (269), Gulang led his troops through Panyu, Zhang Si, to attack Jiaotoe Road Xing, who surrendered to Jiuzhen and Rinan. In the third year (27 1), Wu Jianheng moved to Jiuzhen Taishou (now north of Nanshun, Hanoi, Vietnam). Wu Fenghuang died in April of the first year and was buried in Leiyang at the age of fifty. Its tomb is in Hushan, Kimura, Mashui Town, Leiyang. The frontier purge of Gulang was fruitful. In order to show his achievements, in the first year of Wu Fenghuang (272), his descendants Gu Qifeng and Gu Shangzhi erected a monument for him, that is, Gu Lang Monument. The full name of Gulangbei is the Governor's Monument of Gufu, Jiuzhen Town, Gu Wu. It is made of bluestone, with a height of 176 cm, a width of 72 cm and a thickness of 24 cm. This monument was first carved in the Qing Dynasty, and it was located in Gufu Temple, 5 miles east of Leiyang City, and moved to Du Gongbu Temple in the north of Leiyang City in the Qing Dynasty. On both sides of the monument, the original inscriptions of the descendants of Gu in the early Qing Dynasty still exist, but gradually disappear. In the early 1950s, after the maintenance of Caihou Temple, Gulang Monument was moved to Caihou Temple. 1966, Gulangbei was smashed into three pieces and abandoned in the pond. 1979, the monument was fished out and repaired, with broken marks in the middle, and was still placed in Cai Hougong. In 2004, an ancient wave tablet was built in the southwest of Caihou Temple, and an imitation Han tablet pavilion was built in the park. The monument of Gulang is placed in it. It is now a provincial-level key cultural relic, the only remaining monument of the Three Kingdoms in Hunan Province, and the earliest existing ancient stone carving in Hunan Province.
Three. Interpretation of the Inscription in Gulangbei
It is recorded in The Continuation of Scholars written by Lu in the Qing Dynasty: "The monument (Gulang Monument) is five feet two inches high and two feet four inches five minutes wide, with eighteen lines of words * * *, full of twenty-four words." The inscription is 18 lines, each line has 24 words, the word diameter is about 4 cm, * * is 404 words, and the inscription is 1 1 word is 4 15 words. There is no author's name. Before and after the first line of inscriptions, there are inscriptions of people surnamed Gu in Ming Dynasty, which have been re-engraved before the title or title. The inscription describes Gu Lang's life, virtue, official experience and political achievements. There are many records of epigraphists in past dynasties, such as Zhao Mingcheng's Jin Shilu, Wang Chang's Jin Shilu, Weng Fanggang's Jin Shilu in Han Dynasty, Qu Zhongrong's Gu Quan Mountain Pavilion Inscription, Lu Zengxiang's Collation of Eight Qiongshi, Kang Youwei's Guang Yi Shuang Zhou and Yang's Jin Shilu. The inscription is explained as follows: "Fu Jun is taboo, and the word means first. He is a native of Leiyang, Guiyang, the great-grandson of Yu Jun, the grandson of Gong Fujun and the son of Lang. Its predecessor came from Zhuan Xu and benefited from Shun Yu, giving it a winning surname. As for the title, it was sealed in Qin Valley, so it was not named. You inherit the clean stream of Hongyuan, cherish the high quality of the world, follow the path and think smoothly, and prepare for morality. He lost his mother at the age of three, his father at the age of eleven, and lived alone with his brother. Take care of your step-relatives, and be kind to them. Filial piety, male, Ceng Minzhi fuck, can do whatever you want. Weak crown official county, calendar right post. For Yang Anchang, Shu invited him and promoted him to. In addition to the doctor's history, the county is in the middle. Moved to Liuyang, Changsha, spread the benefits of education, showed kindness to the cloth, and at the end of the government, recruited Gong Zhongchen Shang Wei Shu Lang as the name. A captain who moved to Guangzhou to supervise the army, with a decent body rate, is not afraid of the imperial power in Xinjiang, and is clean and tidy, and Wan Li is clean and neat. Dismissed after the success, worship the five senses, move to Dazhengzheng, equal qualifications, and talk with Yilun. When I was in the state, I stole the city and rebelled. I drove, I drove, I didn't call. The emperor and I discussed, and discussed with the group. She thinks you are the head of Zhou Nan, and Wayne has always been there. Moving to nine is really a great defense. You are a noble man, and you have won the glory of the past, so you should prolong your life and praise the royal family. How can it not last forever? Four-fifths in the Spring and Autumn Period. In April of the first year of Phoenix, she died of illness. Alas! Every hundred gentlemen go to great pains to erect a monument to show their respect and show their achievements. In his words, he said: Yu Yuefu is a gentleman, with a natural temperament, a boudoir threshold, and nine families are harmonious. Yu went to Beij, German and Yun Teng. Dan, the night is quiet and respectful. Out of the comfort of the people, the wind has changed customs, and fame and fortune are about production and glory. When you are yellow forever, your wings support the emperor, the sky hangs, the philosophers are at the end, the gentry gather and are invincible. Les Xuan Shi and Yong Guang are endless. "
Fourth, the calligrapher's appreciation of Gulangbei and an overview of the existing rubbings.
According to the annotation of "The Interpretation of Accumulated Goodness" published by Tao Ruixuan in Qing Dynasty, the Gulang Monument was "carved in the first year of Wu Fenghuang in the Three Kingdoms". After 1700 years, this monument has been worn out, but it is generally well preserved. Before the Qing Dynasty, only Ouyang Xiu and Zhao Mingcheng recorded this monument, and it was not until the early Qing Dynasty that it attracted the attention of stone engravers. The calligraphy of Gulangbei is dignified and vigorous, which is quite interesting in Han Li. The font is between official script and regular script, which is recorded and commented by many calligraphers. (See the table below) For example, Yan Kejun called it: "Li Fa is not evil, and his handwriting is extremely clumsy." Kang Youwei called it Guhou, which is the ultimate truth.
The appreciation and descriptive statistics of the ancient wave tablet by later calligraphers.
From the late Qing Dynasty to the Republic of China, the inscriptions on Gulang tablet were removed several times, and the strokes were fat and lost their charm. Before gouging out this monument, although many words have been worn out, it has the interest of Gu Zhuo, but after gouging out, there are many mistakes. The original appellations of "Gushang" on both sides of Gulang Monument still existed in the early Qing Dynasty, but gradually disappeared, so the appellations of ancient descendants on both sides of the Monument were preserved in earlier rubbings. The rubbings handed down from generation to generation are all based on the names that can be seen by family members on both sides of the monument. The rubbings in the Ming Dynasty are rare, the rubbings in the early Qing Dynasty are treasures, and the rubbings in the Xianfeng period of Daoguang are rare treasures. The Palace Museum has Amin rubbings of the original stone of Gulangbei, which are packaged as a whole, with a length of 132 cm and a width of 75 cm. The paper and ink are ancient and the rubbings are excellent, which is the oldest rubbings ever seen. At the end of the line, you can see the inscription of "Xingye Dayi", with the postscript of Chu Deyi and Chen, but in the recent extension, "Xingye Dayi" and the inscription have been lost. The words "four years in the late Qing Dynasty were not autumn" were later chiseled out, but the works were not recorded. The best binding of Gulangbei collected by the National Library is a rubbings in the early Qing Dynasty, which was submitted by Zhu Zhuan (Yizun), Shen Yun in Shimen, Zou An and Chen Huaisheng in Min County. The 15th year of Guangxu (1889) was inscribed by Shen Boyun and Chen Huaisheng. Attached are Shen Yun in the 16th year of Guangxu, Zou An in the 11th year of the Republic of China and Chen Chengxiu in the 16th year of the Republic of China. There are, Zeng Guan, Bo Appreciation, Shen Boyun's epigraphy calligraphy, seal cutting, Ding, Baiyun, Gu, Shou Qi, Huai Shengpi, Chen Cheng Printing, etc.
Verb (abbreviation of verb) on the artistic value of Gulangbei calligraphy
Sun Wu's Gulangbei is a famous inscription in the Three Kingdoms period and a masterpiece of official script at the end of Han Dynasty. The inscription font is in the same strain as the official script in the mature period of the late Han Dynasty, and the calligraphy is vigorous and powerful. So far, there are still many China calligraphy styles. Although the word is called official script, it is actually very close to regular script, so some people define it as regular script. However, compared with Wei Bei and Tang Kai, it has a strong official flavor. Han Li's simple and honest style is not diminished. His calligraphy is round and regular, subtle and quaint. The wave of official script has almost disappeared, but the glyphs have retained typical features, such as the three characters of "Zhi", "Zi" and "Yi" in the tablet, the left ear of the radical "Fu", the side of "Qi" and the side of "Door", all of which are official script structures, which shows the traces of official script changes. Although Sun Wu's Gulangbei is an official script, it is almost a regular script, with no official script ripple, horizontal strokes and vertical strokes, all in regular script structure, and its regional particularity is very similar to that of Haojing Monument. There are basically patterns in regular script stippling. Compared with Wei Bei and Tang Kai, it has a strong sense of official script, but the tide of official script is hidden. At the same time, it has the charm of seal script. The structure is similar to "Xie Xiubei", which is a pioneer from Li to Kai. The calligraphy style of this tablet is uniform, but it reflects the smart beauty of writing skills in uniformity and stability, and can reflect its own personality and characteristics. It can be seen that this tablet was not written by ordinary calligraphers, but by a very good calligrapher.
The characteristics of calligraphy style change with the maturity of calligraphy. Due to the incompleteness of the book's style, the blending and fluidity in the writing movement and the tendency of the writer's aesthetic thought, many styles and spirits are often reflected in one style of the book. After the official script reached its peak in the Eastern Han Dynasty, it gradually changed after the Wei and Jin Dynasties in the Three Kingdoms. During this period, regular script, running script and cursive script gradually matured, especially running script and cursive script gradually replaced official script in practice, and official script gradually declined. However, as a font, Lishu still exists, and as a calligraphy style, it still has its artistic charm and will continue for a long time. Chinese characters have evolved from official script to regular script, but regular script with official meaning has always existed widely, which is the inevitable trend of font development with society. In this historical period, Lishu followed Han Li in the early stage, with obvious wave brushwork meaning, and later became what Yang Shoujing called "folding knife head" writing style, until later, even Lishu was very similar to regular script.
During the Three Kingdoms period, regular script rose, official script declined, and the characters lacked the spirit of harmony in the heyday of Hanshu, so their influence was far less than that of Hanshu. Although there is little difference between the stone carvings in the Three Kingdoms period and the official scripts carved on the tablets in the late Han Dynasty, their glyphs tend to be square and their characters tend to be vertical. Therefore, the Three Kingdoms is a transitional period from official script to regular script. Gulang tablet seems to be a non-official script, and it seems to be a writing form in the evolution from official script to regular script. The original regular script was actually written by lower-level civilians or officials. However, this monument has profound skill, calm and powerful brushwork, and great artistic charm. Although lettering uses a knife instead of a pen, it is skilled, and most of them can achieve smooth strokes, accurate stippling and vivid. Putting it in a specific era environment is the main cultural spirit of that period. "Gulangbei" is full of power, mellow, restrained and radiant. The font is square, the strokes are round, and the style is quaint, much like the meaning written on bamboo slips between Han and Wei Dynasties. The written end is solid, and there are still many Chinese words. Although the character is called Li, it is actually close to the real model, so there are also people who are designated as regular script. However, it is called "True Mode" because of the habit at that time.
Sun Wu's Gulangbei belongs to the transitional body of official script, but the brushwork of official script is not yet mature, and it is also an official script, which can not only see the shadow of official script, but also initially have the scale of official script. His strokes have gradually evolved from waves in Li Shu to straight lines, and his fonts have gradually evolved from flat in Li Shu to square, but he has never been thoroughly remoulded and looks childish and clumsy. "Gulangbei" has a peculiar face and unique charm, which can bring many inspirations to calligraphers' "seeking change" and "harmony". After the Qing Dynasty, Gulangbei had a greater influence. Jin Nong, one of the "Eight Eccentrics of Yangzhou", was the first to be promoted. His calligraphy took the form of Tianbu Monument and Gulang Monument. Zeng, a native of Hengyang, Hunan Province, was deeply nourished by Gulangbei, and his books were simple, elegant and radiant. In a word, Gulangbei is an important inscription in the initial period of regular script. His calligraphy is vigorous and dignified, and his strokes are different from other Han steles. There is no sign of turning, but it seems to be a regular script, not a regular script, with neat structure and round strokes. There are many changes in the style of fairness, which set each other off and become interesting. It can be said that the law is born out of nothing and the law is born out of nothing.
Jun Fang's calligraphy on this tablet is concise, revealing a free, casual and natural charm. "Gulangbei" is both official and open, and the combination of official and open is brilliant. China's calligraphy in past dynasties has the saying that the North Monument is bold and heroic, simple and simple; South Railway is simple, exquisite and gorgeous. As an inscription in the south, Gulang Monument is also full of Gu Zhuo and simplicity in the north. On the whole, Sun Wu's Gulangbei is neat in structure, vigorous in strokes and simple and elegant in style, which is slightly different from many inscriptions in the Central Plains and northern regions at the same time, laying a solid foundation for regular script to gradually replace official script, and it is also the first time that official script has become interesting. It is one of the important inscriptions in the history of calligraphy in China, which opened the door to regular script. As far as calligraphy itself is concerned, Sun Wu's Gulangbei not only has the vigor and elegance of official script in Han Dynasty, but also has the neatness and dignity of regular script in later generations, which integrates official script, method and meaning, and has important cultural significance in the history of China calligraphy.