China’s five thousand years of splendid civilization and unparalleled rich written records have been recognized by the world. In this extensive and profound history, the art of Chinese calligraphy and painting has been reproduced with its unique art form and artistic language. This diachronic transformation process. The sister art of calligraphy and painting has interpreted the connotation of China's traditional culture with its complementarity and independence in the evolution of history. Because the tools and materials used in calligraphy and painting creation are consistent. When talking about the origin of ancient characters and pictures in "Records of Famous Paintings of the Past Dynasties", he said: "At that time, calligraphy and painting were of the same body without being separated. The image system was created but still sketched. There was no way to convey its meaning, so there were books; there was no way to see it. Shape, so there is painting." Although calligraphy and painting have the same origin and are comparable, their subsequent development has developed and changed in a complementary and independent manner. The formation and development of Chinese calligraphy art are inextricably linked to the emergence and evolution of Chinese characters. So what exactly is "calligraphy"? We can understand it from its nature, aesthetic characteristics, origin, and unique expression techniques. Calligraphy is an abstract symbolic art with four-dimensional characteristics based on Chinese characters and written with a brush. It embodies the basic law of "unity of opposites" in all things and reflects the spirit, temperament, knowledge and cultivation of human beings as the subject.
Chinese characters have a very early origin, and have developed the writing quality of characters to an aesthetic stage - integrating the concepts, thinking, and spirit of the creator, and can stimulate the aesthetic emotions of the aesthetic objects (that is, a The formation of calligraphy in the true sense). There are records that can be tested between the late Han, Wei and Jin Dynasties (about the second half of the 2nd century AD to the 4th century AD). However, this does not mean to ignore, downplay or even deny the artistic value and historical status of the previous calligraphy art form. The origin of Chinese writing and the production of early artistic works all have their own particularities and characteristics of the times. As far as calligraphy is concerned, although early writing - oracle bone inscriptions and pictographic characters - the same character has different traditional and simplified versions, and the number of strokes is different. But it already has the laws of symmetry and balance, as well as some regular factors in the use of pens (knives), knotting, and composition. Moreover, the organization of lines and the changes in the beginning and end of strokes already have the meaning of ink writing and the meaning of brushwork. Therefore, it can be said that the emergence and existence of previous calligraphy art not only belong to the category of calligraphy history, but also are important examples that can be used for reference and reflection in the development and evolution of art forms for future generations.
China's historical civilization is a diachronic and linear process, and Chinese calligraphy art shows its own development under such a large background of the times. In the budding period of calligraphy (from the Yin and Shang Dynasties to the late Han Dynasty and the Three Kingdoms), writing evolved in sequence from oracle bone inscriptions, ancient inscriptions (bronze inscriptions), large seal scripts (Zhen inscriptions), small seal scripts, official script (eight points), cursive script, running script, and real script. . During the Ming Dynasty of calligraphy (from the Jin, Southern and Northern Dynasties to the Sui and Tang Dynasties), the art of calligraphy entered a new realm. From seal script to simple cursive script and real script, they became the mainstream style of the period. The emergence of the great calligrapher Wang Xizhi made the art of calligraphy shine. His artistic achievements spread to the Tang Dynasty and were highly praised. At the same time, a group of calligraphers emerged in the Tang Dynasty, such as Yu Shinan, Ouyang Xun, Chu Suiliang, Yan Zhenqing, Liu Gongquan and other famous calligraphers. Each has its own merits and styles in calligraphy.
The calligraphy theory of the Tang Dynasty was more sophisticated and perfect based on the Three Kingdoms, Two Jin Dynasties, and Southern and Northern Dynasties. For example: Sun Guoting's "Book Book", Zhang Huaiguan's "Book Break", "Book Yi" and Zhang Yanyuan's "Fa Shu Yao Lu" were all regarded as standards by later generations and had a profound impact on the creation of calligraphy theory in later generations. The calligraphy of the Five Dynasties, Song, Liao, Jin, and Yuan dynasties is a recollection and inheritance of the calligraphy of the Jin and Tang dynasties. This period presented a complicated situation due to wars and political instability. Calligraphers turned to the track of expressing personal emotions and interests through calligraphy. There emerged the "Four Song Schools" of the Northern Song Dynasty and Zhao Mengfu of the Yuan Dynasty. The theory of calligraphy has also developed, with publications such as: "Mo Chi Pian", "History of Calligraphy", "Xuanhe Calligraphy", "Han Mo Zhi", "Guangchuan Script", "Fa Shu Kao", "Hanlin Yao" "Decision" and other theoretical works. It provided reference styles and theoretical guidance for the artistic creation of calligraphers at that time and later generations.
The art of calligraphy in the Ming Dynasty basically developed after learning calligraphy from the Song and Yuan Dynasties.
Nowadays, when people talk about calligraphy in the Qing Dynasty, they usually divide it into two periods based on "tie studies" and "stele studies", and the period of Jiaqing and Daoguang is roughly used as the dividing point. That is to say, the period before the 1820s was the Tie Xue period, and the period after that was the Steleology period. Whether this division is reasonable is another matter. However, after the Song and Yuan Dynasties, the so-called era of inscriptions and calligraphy centered on the calligraphy of the two kings has reached its lowest ebb. However, the number of authors who studied seal script calligraphy before the Han and Wei dynasties has gradually increased. This is an undeniable fact. At this time, famous people emerged in large numbers, each leading the way. At this time, the theory of calligraphy was more successful than that of the previous generation. Theoretical works such as "Shu Raft", "Yi Zhou Shuang Ji", "Calligraphy", and "Guang Yi Zhou Shuang Ji" were successively produced.
The calligraphy works of the Ming and Qing Dynasties are as handed down as paintings, and there are many left behind. There are currently many on the market. Chinese calligraphy and painting works, at least since the Wei and Jin Dynasties, have been collected as works of art by the courts and the people of all dynasties, and have become people's spiritual food. However, during the circulation, the issue of authenticity of the works has arisen, which has puzzled collectors and collectors. connoisseur. There have been official cases of counterfeiting in history. During the Ming and Qing Dynasties, due to the development of industry and commerce in some coastal cities, the demand for calligraphy and painting increased day by day, and the production of fakes came into being in the Ming Dynasty. The so-called "Suzhou movies", "Made in Henan", "Made in Hunan", and "Made in the back door" are overwhelming and pervasive. This is also a problem that troubles collectors and connoisseurs. Although many works of the Ming and Qing Dynasties have been circulated, there are also many works by those who are confused and superficial. Therefore, collectors and collecting circles in the current art market should maintain a cautious attitude when purchasing and collecting these works.
2) Publications
A calligraphy and seal cutting publication sponsored by the Chinese Calligraphers Association. It was founded in Beijing in October 1982, with Qi Gong as editor-in-chief. It was published by Baowentang Bookstore and China Federation of Literary and Art Circles Publishing Company as an irregular series. In 1986, it was changed to a quarterly magazine, with Xie Bingyan as editor-in-chief, and edited and published by Chinese Calligraphy Magazine. The content of the publication focuses on introducing and analyzing modern accomplished calligraphers and seal carvers, commenting on and studying the creations of contemporary calligraphers; conducting discussions on calligraphy theory; and also studying and sorting out the outstanding ancient calligraphy art heritage in a larger space. At the same time, it selectively introduces the status of Chinese calligraphers in Japan, Singapore and other countries and their creative achievements. "Chinese Calligraphy" has columns such as modern famous artists, young and middle-aged calligraphers, calligraphy forums, calligraphy appreciation, calligraphy theory, overseas calligraphy circles, exhibition tours, and biographies of modern calligraphers, etc., striving to reflect the contemporary calligraphy creation and theoretical level. Also pay attention to popularizing calligraphy knowledge.