The "wall" of poems on the wall can be subdivided into house wall, hall wall, pavilion wall, building wall, temple wall, temple wall, post-delivery wall, mountain stone wall and so on. Among them, it is more common to write about the wall of the house, such as Du Fu's The Wall of the Maowu House in Guo 32 Ming County, Qian Qi's The Wall of Chen Ji, Bai Juyi's The Wall of Shen Zi Ming, Wen Tingyun's The Wall of Friends, etc. From the calligraphy point of view, these poems are mostly for the occasion, generally speaking, they are of little value, but there are also many works by everyone. Because the "walls" are difficult to preserve for a long time, most of them are destroyed, and only a few remain in the world.
Poetry on the wall began in the Han Dynasty and flourished in the Tang and Song Dynasties. Shi Yiguan, a calligrapher at the end of Han Dynasty, was one of the earliest examiners. According to the Book of Jin, Volume 36 quoted Wei Heng's Four-body Book Trend: "When the Emperor of the Han Dynasty wrote a good book, he was versatile, while Shi Yiguan was the best, and the big one was full of words, and the small one was full of words, which greatly praised his ability. Sometimes, if you don't hold money, you will drink in the restaurant. Because of the wall of the book, the visitors will pay for the wine and beg for money. "
after the Han dynasty, there were many people who wrote about the wall. During the Southern and Northern Dynasties, there were more and more poems on the wall. By the Tang Dynasty, the wind of inscription on the wall was popular in the world, and a large number of poems in "The Whole Tang Poetry" were marked as handwritten. According to the statistics of Tang Dynasty's poetry anthology, there were hundreds of authors of wall poems at that time, among which Hanshan and Cui Hao were the most famous. Hanshan is a famous poet and monk. His poems on the wall amount to 6, but half of them are lost. Cui Hao's most famous poem on the wall is The Yellow Crane Tower: "where long ago a yellow crane bore a sage to heaven, nothing is left now but the Yellow Crane Terrace. The yellow crane never came back, for thousands of years to see the long white clouds. Every tree in Hanyang becomes clear by sunlit water, and Parrot Island is covered by the sweet grass. But I look toward home, and twilight grows dark, with a mist of grief on the river waves. " So that Li Bai went to the Yellow Crane Tower to compose poems, and because he saw this work by Cui Hao, he closed his hand for it. Yao Chong's great-grandson and Jia Dao's Yao He, also known as "Yao Jia", are also fond of poems, and Xiang Si, a poet friend, said that he "wrote all the poems on the official wall".
during the Yuanhe period in Tang Xianzong, Bai Juyi's and Yuan Zhen's poems were popular for a while, and poets with themes and poems written in white were everywhere. According to Yuan Zhen's Preface to the Collection of Bai's Changqing, "In the past 2 years, there have been no books on the walls of forbidden provinces, temples and post offices, and princes, concubines, cows, boys and horses have left their mouths." Yuan and Bai are also close to each other. Ge Lifang's "Rhyme in Yangqiu" (Volume 3) says: "Yuan Bai is as famous as ever, so it comes naturally. Yuan Wei wrote white poems in the West Temple in Zhangzhou, and Bai Letian wrote hundreds of poems in Yuan Dynasty, which were combined into a screen and admired each other. "
The most famous calligrapher in the Five Dynasties was Yang Ningshi. Yang Ningshi "never liked letters and feet", and his main book traces were left on the temple walls. There is a note in the book History of the Old Five Dynasties: "(Yang Ningshi) has lived in Luo for a long time, traveled to Buddhist temples, encountered scenic spots of mountains and rivers, lingered and admired poems, looked at the lack of paintings on the walls, and recited books, if he was with God." Even "there are more than 2 temples in Xiluo, which have been inscribed several times" ("A Brief History of Books").
The style of inscribed walls in Song Dynasty is not inferior to that in Tang Dynasty, and there are many inscribed poems in postal kiosks, post walls and temple walls. The more famous ones are Wang Yucheng's titled Monk Wall, Su Shunqin's titled Huashan Temple Wall, Wang Anshi's Shuhe House Wall and Shuhuyin's Wall, Yang Wanli's titled Longgui Temple Wall, Lu You's titled Restaurant Wall and Su Shi's titled Xilin Wall. Nowadays, more people are referring to Lin Sheng's "Title Lin 'an Post" in the Southern Song Dynasty: "When will the singing and dancing in the West Lake stop?". The warm wind made the tourists drunk and made Hangzhou Bianzhou. " Lin Sheng is so lonely in the history of literature, and his fame will last for generations to come, which is completely fulfilled by the wall of the post office.
after the yuan dynasty, with the wide application of printing, the style of literati's topic wall gradually faded away, but by the end of the Qing dynasty and the beginning of the Republic of China, some scholars were still elegant. The wall poem found at No.38 Zhengbaiqi, Xiangshan, Beijing, was suspected as "Cao Xueqin's former residence" by the red circle because of its connection with Cao Xueqin.
why did the poem on the wall flourish in the Tang and Song Dynasties? There are two reasons: first, in the Tang and Song Dynasties, especially in the Tang Dynasty, poetry and calligraphy reached their peak, and there were many poems on the wall, which was the embodiment of the prosperity of poetry creation and calligraphy activities at that time; Secondly, although block printing and movable type printing were invented in the Tang and Song Dynasties, the printing ability was limited, and a large number of poems could not be engraved in time. "Title wall" became the best way for poets to improvise and "publish" poems. The high enthusiasm of poets in Tang and Song Dynasties on the topic wall not only stems from their love for calligraphy and poetry, but also from their desire to spread knowledge. When they splash ink, they don't necessarily care about "publishing their works", and they don't care about the hidden wall and the immortality. They are more interested in lyrical freehand brushwork itself, so that more people can get the information from it faster.