wè ib ē i

[Tablet Inscriptions of the Northern Dynasties (386-581)] The general term for inscriptions in the Northern Dynasties, which is characterized by strong brushwork and strong fonts, is a model of calligraphy in later generations.

Wei Bei's calligraphy art is mainly divided into two categories: one is Buddhist sculpture inscriptions; One is the folk epitaph. There are more than 3, sculptures in the Longmen Grottoes alone, and the famous one is "Twenty Sculptures in Longmen". Epitaphs were very popular in the Northern and Southern Dynasties, among which there were more epitaphs in the Northern Wei Dynasty than in the previous generation. Calligraphy was characterized by han li's brushwork, strict structure, calm strokes, varied and beautiful.

Kang Youwei called Wei Bei ten beauties, which summarized the artistic features of Wei Bei's calligraphy, such as strong, simple and natural.

Wei Bei refers to the inscriptions and calligraphy works of the Northern Dynasties during the Southern and Northern Dynasties. The existing script in Wei Bei is regular script, so these inscriptions in regular script are sometimes called "Wei Kai". Wei Bei, also known as the Northern Monument, was founded in the Northern Wei Dynasty for the longest time among successive dynasties in the Northern Dynasties. Later, "Wei Bei" was used to refer to the inscription calligraphy works of the entire 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 huge number of Wei Bei's works, including thousands of statues found in Longmen Grottoes. These works are mixed with good and bad. After finishing by predecessors, some works stand out from them and are regarded as Wei Bei's representative works.

Longmen Twenty Paintings and Longmen Four Paintings

"Longmen Twenty Paintings" refers to the statues of the twenty parties in the Northern Wei Dynasty found in Longmen Grottoes, and these works are regarded as the representative works of Wei Bei's calligraphy. Kang Youwei of Qing Dynasty first put forward the title of Longmen Twenty Products in Guang Yi Zhou Shuang Tan:

Inscription on the Statue of Biqiuhui after His Death

Inscription on the Statue of Xue Fashao in Wei Ling's Collection

Inscription on the Statue of Sun Qiusheng and Liu Qizu, etc.

Inscription on the Statue of Yang Dayan as Emperor Xiaowen

. Inscription

Inscription on the Statue of Sima Xieboda

Inscription on the Statue of Sun Bao by Taifei Gao of Beihai Kingdom

Inscription on the Statue of Yunyang Bo Zheng Chang Phthalein for the Dead Parents

Inscription on the Statue of Gao Shu Xiebodu 3 and others

Inscription on the Statue of Biqiu Huigan for the Dead Parents

P > Inscription on Statues of Mother and Child of King Yuan You of Qi County, Statue Inscription on Statues of Mother and Child of King Bei Hai, Statue Inscription on Statues of King Yuan Xie of Anding, Statue Inscription on Statues of King of Qi County, Statue Inscription on Statues of Benevolent and Wise Government of Bhikuni, Statue Inscription on Statues of Taoist Monks of Bhikhu, and Statues of Longmen Grottoes. For example, the first four statues listed above, Inscription on the Statue of the Duke Ping after the Becoming of a Dead Father, Inscription on the Statue of Xue Fashao Collected by Wei Ling, Inscription on the Statue of Sun Qiusheng and Liu Qizu, and Inscription on the Statue of Yang Dayan as Emperor Xiaowen, are also collectively called "Longmen Four Products".

Zheng Wengong Monument

This cliff is the work of Zheng Daozhao, a calligrapher of the Northern Wei Dynasty, and has always been valued by calligraphers. Ye Changchi, a scholar in the Qing Dynasty, said: "His pen power is healthy, and he can lick the rhinoceros and fight the dragon and snake, but he swims in vain, all with divine luck. In the early Tang Dynasty, all the families of Ou Yu, Chu and Xue were under cover, not only the first in the Northern Dynasties, but only one person since the birth of the real book. "

stele of Zhang menglong

this stele is also highly respected by calligraphers. Yang Shoujing, a scholar in the Qing Dynasty, commented: "Calligraphy is chic and ancient, and the odd and the right are in harmony. Those who are higher than the Tang people in the six generations take this as a reason." It is believed that the achievement of this Wei Bei work is higher than that of the Tang Dynasty. Zhao Han, a scholar of epigraphy in the Ming Dynasty, pointed out: "The book is healthy and has opened the door to Europe and danger." Ou Yangxun and Yu Shinan, calligraphers of the Tang Dynasty, were deeply influenced by this monument.

[ Editor's] Features

Wei Bei is a kind of regular script, and Wei Kai, Jin Dynasty regular script and Tang Dynasty regular script are also called the three major regular script fonts. Wei Bei showed some transitional factors in the development from official script to typical regular script. There were regular script in the Wei and Jin Dynasties, such as Zhong You's Manifestation Table and Wang Xizhi's Huang Tingjing, which were relatively mature regular script. However, after a large number of intellectuals in the Western Jin Dynasty went south with the Jin Dynasty, the style of calligraphy in the Northern Dynasty was quite different from that in the Southern Dynasty. Most of the existing inscriptions in the Northern Dynasties are the works of anonymous folk calligraphers, which is naturally different from the calligraphy style of the so-called "romantic charm-{borrowing}-"by the literati in the Southern Dynasties. Zhong You and Wang Xizhi completed part of the process from official script to official script. Due to the southern crossing of the Jin Dynasty, the folk calligraphers in the Northern Wei Dynasty did not inherit much of their achievements, but followed the development track of the original folk calligraphy, and more directly evolved from 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 paid attention to statutes, and his pen and knot tended to be standardized and unified, while Wei Bei used his pen freely, and the knot was shaped according to the situation and was not bound.

kang Youwei in Qing dynasty praised Wei Bei's "ten beauties" in "two boats in Guangyi": "In ancient and modern times, Nanbei and Wei are the only ones who can be regarded as the ancestors. Can you live for what? There are ten beauties: first, boldness, second, muddy weather, third, bold brushwork, fourth, bold stippling, fifth, fantastic attitude, sixth, vigorous spirit, seventh, full of interest, eighth, profound learning, ninth, natural structure, and tenth, rich flesh and blood, which are the ten beauties only found in Wei Bei South Monument. "

[ Editor] Influence

Wei Bei was discovered earlier by people, 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. Due to Li Shiming's admiration for Wang Xizhi's calligraphy, the calligraphy style of Jin Dynasty represented by Wang Shu was always the mainstream in the Tang Dynasty. Therefore, on the whole, the regular script in the Tang Dynasty inherited more from the tradition of the regular script in the Jin Dynasty. Even if Wei Bei was adopted, it was mostly due to the calligrapher's personal interest and style, which failed to form a general atmosphere of learning from Wei Bei.

Tang Kai's height and strict statutes have made the later generations' practice of regular script procedural and standardized, thus losing their 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 their energies to the creation of running script and cursive script. In the Ming Dynasty, due to the increasingly rigid selection of scholars in the imperial examination, a style of calligraphy called "Taige Style" appeared. "Taige style" regular script is the official font stipulated in the imperial examination, which pursues beauty and generosity, 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".

in the early Qing dynasty, epigraphy rose, and a large number of inscriptions in the southern and northern dynasties were unearthed; In calligraphy, people also began to reflect on the disadvantages of "pavilion style". Thus, in the Jiaqing and Daoguang years, Wei Bei began to be valued by calligraphers and calligraphers, among which Ruan Yuan and Bao Shichen were the strongest advocates of Wei Bei in the early days, and Kang Youwei in the later period. Ruan Yuan wrote "On the North Monument and South Sticking" and "On the North-South Calligraphy School", and initiated "the study of steles"; Bao Shichen wrote "The Art Boat with Double Tanks" and Kang Youwei wrote "The Art Boat with Double Tanks", which contradicted the admiration of Chunhua Pavilion Post since the Song Dynasty and put forward the viewpoint of "respecting the monument but restraining the post". Kang Youwei clearly put forward in "Guang Yi Zhou Shuang Tan": "If you want to respect the post today, you will have to respect the monument; If you want to honor the Tang stele, it will be worn out, and you have to respect the stele in the South and North Dynasties. Those who respect it are not based on its antiquity. The strokes are intact, the spirit is revealed, and it is easy to copy. You can test the change of Li kai, and the second is also; You can test the origin of later generations, three also; Tang Yan's structure, Song Shang's attitude, Six Dynasties' steles all ready, four also; The brushwork is long and engraved, and the majestic angle is out, which is overwhelming. It is actually what Tang and Song have, and it is also five. There are five, and it is not appropriate to respect! " Since then, the study of steles has become popular, and the value of Wei Bei has been generally recognized. In addition to taking the method of "Jin and Tang Dynasties", more and more people have begun to choose Wei Bei.

In addition, Wei Bei has been standardized into "Wei Ti", which is one of the most commonly used Chinese printing fonts.