The history of China's calligraphy has gone through a long process. Calligraphy is a unique art in China. Although the consciousness of calligraphy art only appeared at the end of the Eastern Han Dynasty, calligraphy art should be at the same time as the appearance of Chinese characters. The formation of Chinese characters has gone through a long historical period. At present, the earliest materials related to ancient Chinese characters in China are Oracle Bone Inscriptions and bronze inscriptions in the middle and late Shang Dynasty (about 14 to 1 1 century). From the late Shang Dynasty to the Qin Dynasty's unification of China (22 1 year ago), the general trend of the evolution of Chinese characters was from complexity to simplicity. This evolution is reflected in the evolution of fonts and glyphs. In the late Western Zhou Dynasty, the bronze inscriptions tended to be straight, and the folk cursive seal script developed to ancient plum in the Warring States period, which greatly weakened pictographs. However, the artistry of calligraphy has been enriched with the development of calligraphy.
Pre-Qin calligraphy
(Image) Oracle Bone Inscriptions
Pre-Qin calligraphy that laid the foundation for China's calligraphy.
Calligraphy is a unique art in China. Although the consciousness of calligraphy art only appeared at the end of the Eastern Han Dynasty, calligraphy art should be at the same time as the appearance of Chinese characters. The formation of Chinese characters has gone through a long historical period. At present, the materials related to primitive Chinese characters are mainly descriptive symbols left by primitive society on pottery, but many linguists think that they are not characters, but only play a role in the production of primitive characters. Most philologists believe that "the formation time of Chinese characters is probably not earlier than Xia Dynasty", and a complete writing system was formed in Xia and Shang Dynasties (about BC17th century) (Qiu Xigui's Outline of Philology).
It is recognized by academic circles that the earliest materials of ancient Chinese characters are Oracle Bone Inscriptions and bronze inscriptions in the middle and late Shang Dynasty (about 14 to 1 1 century). From the perspective of calligraphy, these earliest Chinese characters already have many factors of formal beauty of calligraphy, such as beauty of lines, symmetry, variation, composition and style. From the late Shang Dynasty to the Qin Dynasty's unification of China (22 1 year ago), the general trend of the evolution of Chinese characters was from complexity to simplicity. This evolution is reflected in the evolution of fonts and glyphs. In the late Western Zhou Dynasty, the bronze inscriptions tended to be straight, and the folk cursive seal script developed to ancient plum in the Warring States period, which greatly weakened pictographs. However, the artistry of calligraphy has been enriched with the evolution of writing style.
Introduction of main works
Oracle Bone Inscriptions, Yin Oracle Bone Inscriptions and Shang Dynasty (Sacrificing hunting and painting Zhu Niu bones)
Oracle bone inscriptions were discovered in 1899 (the 25th year of Guangxu). It is an ancient writing carved on tortoise bones, animal bones and human bones in the Yin and Shang Dynasties, which recorded divination, sacrifice and other activities. Strictly speaking, it can only be called calligraphy in Oracle Bone Inscriptions. Because Oracle Bone Inscriptions has possessed the three basic elements of China's calligraphy: writing with a pen, writing with Chinese characters, and composition. However, not all previous picture symbols have these three elements. The picture shows the work "Zhu Niu Bone Sacrifice and Hunting Inscription" in Wuding period of Shang Dynasty, with bold style, scattered font size, vivid, diverse and natural. It is worthy of being a masterpiece in oracle calligraphy.
Inscription of Dayu Ding in Western Zhou Dynasty
(Figure) Zheng Bai's long line
Dayu Ding is a famous bronze ware in the Western Zhou Dynasty, and its inner wall is engraved with an inscription, which is as long as 29 1 word, which is relatively rare among bronze wares in the Western Zhou Dynasty. Its contents are as follows: warn Yu that Yin died of alcoholism, and the Zhou Dynasty prospered by abstaining from drinking. Yu must try his best to help him and respect the moral policies of King Wen and Wang. His calligraphy style is rigorous, the shape and layout are simple, and Fiona Fang has both skills of using a pen, which has a rigorous and dignified artistic effect. It is a masterpiece of bronze calligraphy in the early Western Zhou Dynasty.
Western Zhou Mao Ming
One of the famous heavy weapons in the bronze wares of the Western Zhou Dynasty, it was made in the Wang Xuan period in the late Western Zhou Dynasty. The inner wall has a 498-word inscription. The content is that the king of Zhou is the Zhou government of ZTE. In order to get rid of the long-standing abuses, he ordered Mao Gongzhong, an important official, to help him avoid the disaster of national subjugation and give him a lot of property. Mao Gong thanked Zhou Wang and made a tripod to commemorate him. His calligraphy is a mature style of bronze inscription in the Western Zhou Dynasty, with well-balanced and accurate structure, vigorous and steady lines, proper layout and full of rational colors, which shows that bronze inscription has developed to an extremely mature position.
Western Zhou Dynasty
It was a bronze ware in the late Western Zhou Dynasty when Li was in power. Its inscription structure is simple, its lines are round and concise, and its center of gravity is low because of its horizontal posture, which is more simple and heavy. It has a strong sense of "casting" and shows a strong "golden taste", so it occupies an important position in the system of stele study. Hu Xiaoshi, a famous modern calligrapher, commented: "The seal script was well prepared in the Zhou Dynasty. Its enlarged version is Mao, ... and the characters are combined with the vertical trend, but the only one that is still horizontal is Pan.
Eastern Zhou Dynasty (770-256 BC)
Qin carved stones in the Warring States Period. There are ten stone drums, which are shaped like drums. Each stone drum is engraved with a four-character poem and ten * * * poems, which describe the hunting of the king of Qin, so the stone drum is also called hunting. The handwriting is worn out, and it is now in the Palace Museum in Beijing. Shi Guwen has an important position in the history of calligraphy. Its font is a typical Qin calligraphy style, which has a great influence on the appearance of Xiao Zhuan in the late Qin Dynasty. At the same time, its own artistic achievements are also very high. Its structure is even and square, with generous stretch, full and round lines and strong brushwork. There is no trace of pictograms between the lines of Shi Guwen, but a symbolic structure composed of lines.
Calligraphy in Qin dynasty
(Figure) "Reply Post" section
During the Spring and Autumn Period and the Warring States Period, there were great differences in languages among countries, which was a major obstacle to economic and cultural development. Qin Shihuang annexed the world, and Li Si, the minister, presided over the unification of the national characters, which was a great achievement in the cultural history of China.
After the unification of Qin Dynasty, this script was called Qin Zhuan, also known as Xiao Zhuan, which was simplified on the basis of Jin Wen and Shi Guwen. As a representative of the famous calligrapher Lisi, the carved stone of Mount Tai in Qin was highly praised by all previous dynasties. Qin is a period of change of inheritance and innovation. The preface to Shuo Wen Jie Zi says: "Shu Qin has eight styles, namely, big seal, small seal, seal cutting, insect book, copy, official book and official book." It basically summarizes the face of the font at this time.
The appearance of official script is a great progress of China characters and a revolution in the history of calligraphy, which not only makes Chinese characters tend to be square, but also breaks through a single center in brushwork, laying the foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are also handwriting such as imperial edict, weight, tile and coin. In the Qin dynasty, the style was very different. Calligraphy in Qin Dynasty left a brilliant page in the history of calligraphy in China. Like the majestic Great Wall of Wan Li and the spectacular Terracotta Warriors, it is the forerunner and the crystallization of the infinite wisdom of the Chinese nation.
Main work
Taishan stone carving
Qin Xiang Li Si (? -208 BC), he was the first recorded calligrapher in the history of calligraphy in China. The calligraphy style of Taishan stone carvings is the standard font after Qin unification, Xiao Zhuan. Its structural features, directly inherited the characteristics of Shi Guwen, are more simplified and square than Shi Guwen, rectangular, with smooth lines and even density, giving people a sense of dignity and stability. In the Tang Dynasty, Zhang Sheng praised Li Si's Biography: "Painting is like a stone, words are like flying", "Bones are rich and smooth, and Fiona Fang is wonderful".
Qin Bamboo Slips Sleeping Tiger
19751February Qin bamboo slips unearthed in Hubei shocked the archaeological and calligraphy circles. Its excavation has opened the eyes of modern calligraphers and provided real information for the study of calligraphy history. Qin Li's structure has its own special characteristics of the times, including the characteristics of later official script and seal script. The ancients said: "Feng is also a successful official", which makes sense. In the sense of "fast", Qin bamboo slips are brush calligraphy. Only the use of brush and the rapid writing of seal script can really push China's calligraphy to the direction of official script.
Calligraphy in Han dynasty
(Figure) Calligraphy in Han Dynasty
The flourishing calligraphy of Han Dynasty in Lishu
The Han Dynasty, from 206 BC to 426 AD, was a crucial generation in the history of calligraphy development in China. The Han Dynasty was divided into the Western Han Dynasty and the Eastern Han Dynasty. In the 300-odd years of Han Dynasty, calligraphy experienced the evolution from brush seal to official seal, from official seal to Cao Zhang, Shu Zhen and running script. By the end of Han Dynasty, China's writing of Chinese characters was basically completed. Therefore, the Han Dynasty is a critical period in the history of calligraphy, from constant change to stereotypes. Lishu is a widely used script in Han Dynasty. Official script in Han Dynasty is also called "Fenshu" or "Bafen". Not only is the brushwork more and more sophisticated, but the style of the script is also diverse. Liu Xie's Wen Xin Diao Long? The tablet says: "Since the later Han Dynasty, the tablet has been carved in Yun Qi." Therefore, the official script of the Eastern Han Dynasty entered a stage of skillful brushwork and various schools. Among the more than 100 kinds of Han steles left behind, it presents a dazzling and brilliant style. At the same time of the maturity of official script, there was a change in the division of official script, which developed into Cao Zhang, running script and original work. The constant change and development of calligraphy laid the foundation for the smooth cursive movement and the wild cursive movement in the Jin Dynasty. In addition, inscriptions on bronze and seal script declined gradually because of their decreasing practical use, but they were still used in seals, tiles and Jialiang in Han Dynasty, which made seal script unique. Kang Youwei once said: "During the Qin and Han Dynasties, Wadang's prose was cheap and flat, and his brushwork was enough to get married."
Main work
Mawangdui silk book
Ink calligraphy in the late Qin Dynasty and the early Western Han Dynasty. Unearthed from No.3 Han Tomb in Mawangdui, Changsha, Hunan 1973. Including "Warring States Policy", "Laozi A and B" and other letters. It is the first-hand material to study calligraphy in the Western Han Dynasty, and it has solved the problem that whether there are official scripts in the Western Han Dynasty has been debated by predecessors. "Mawangdui Silk Book" uses a steady and vigorous pen, which gives people a sense of meaning and roundness. Its composition is also very unique, different from simple books and stone carvings, wired and free in length. Have a strong sense of jumping rhythm. Generally speaking, it reflects the writing characteristics of the official system from printing to official.
Western Hills
Official script of Han dynasty. The full name is "Hanyang River and Yang Liming West Narrow Fu", and the seal number is "Hui 'an West Table", so it is also called "Hui 'an West Table". The fourth year of Jianning (A.D. 17 1) was carved on the cliff of Tianjingshan in Chengxian County, Gansu Province. This stone knot is simple, solemn and majestic, and the pen is simple and heavy, Fiona Fang, and the brushwork is vigorous. Yang Shoujing commented: "The square is magnificent and has no leakage, which is especially valuable." At the end of the inscription, the writer engraved the word "autumn scenery", which created a model of calligrapher's signature.
Pugesson
Lishuya in Han Dynasty. All of them are called "Ode to Li Ming, the satrap of Wudu" and "Ode to Xi Huang" as companion pieces, which were engraved in February, the fifth year of establishing Jianning in Baiya, Lueyang County, Shaanxi Province (AD 172). This stone font mostly contains the meaning of seal script, with rounded strokes and inconspicuous waves. However, the glyph structure is mostly horizontal, with prominent square folds, dense rules, simple styles and depressions. Therefore, in the Qing Dynasty, Wan Jing once said that the words were dangerous and strange, and the writing was rough and clumsy, while Kang Youwei commented: "I love Puge Fu, which is dense in style and foggy at the end of the Han Dynasty, and later generations are ignorant. But the Pingyuan (Yan Zhenqing) chapter has a unique meaning. " ("Guangyi boat double?" Ben Han shows the influence of this stone on later calligraphy.
Zhang Qianbei
The full name is "Ode to Zhang Jun in Han Gucheng". Inscriptions in the Eastern Han Dynasty. Lingdi Zhong Ping was established in Dongping County in the third year (AD 186). The font is tight, square and changeable, which is very attractive to Park Houzhong. With Fang Bi as the main pen, Jin Fang is calm and full of vigor. Inscription calligraphy is fluent and natural, which is praised by calligraphers.
Xianyu Huang Bei
Official script of Han dynasty. It is called "Yanmen Monument in Han Dynasty" and was carved in the eighth year of Yan Xi (A.D. 165). The inscription on this tablet is wide, flat, rich and even, thin and hard with a pen, full of flesh and blood and vigorous, with a square pen at the corners. It can be said that it is determined to win, which opened the precedent of writing in the Northern Wei Dynasty, but it does not lose its beauty. The whole picture is full of vigor and vitality, with a sense of richness. It is close to Zhang Qianbei, and it is a rare boutique in Han Li.
Ritual tablet
Official script of Han dynasty. The full name is "Lu Yi Confucius Temple Sacrifice Monument", so it is also called "Han Yi Monument". Engraved in the second year of Yongshou (AD 156). In the Confucius Temple in Qufu, this monument is neat and vertical, with well-proportioned proportions and strict statutes. The pen tip is thin and strong, with different weights, particularly thick foot pressure and very clear sharp tip. It is a typical Han Li, and the dovetail is extremely wonderful. The charm of this book is quiet and solemn, elegant and beautiful. Weng Fanggang prides himself on being the first in Han Li. This monument had a great influence on the formation of the model law in Tang Dynasty.
Cao Quanbei
Official script of Han dynasty. The full name "Han Heyang made Cao Quanbei" was engraved in October of the second year of Zhong Ping (A.D. 185) and 1956 was collected in the forest of steles in Shaanxi Museum. In Han Li, this monument is unique, beautiful and beautiful, with flat and symmetrical structure, stretching and escaping, attractive style, straight brushwork and both vertical and horizontal. It belongs to the same category as "Ying Ying" and "Li Qi", but it is gorgeous and beautiful, with the state that "if she just turns her head and smiles, she will have all kinds of spells", which is really a wonderful flower of Han Li.
calligraphy of wei and jin dynasties
(Figure) Wei and Jin calligraphy
Calligraphy in Wei and Jin Dynasties completed the evolution of calligraphy style.
Judging from the development of China's calligraphy, Wei and Jin Dynasties are an important historical stage to complete the evolution of calligraphy. It is a well-prepared generation of many forces. So far, Han Li has finalized the basic form of square Chinese characters. The emergence, development and maturity of official script gave birth to the original script (regular script), while cursive script sprouted almost at the same time as official script. Real calligraphy, running script and cursive script were shaped in Wei and Jin Dynasties. Their stereotypes and beautification are undoubtedly another great change in the history of China's calligraphy.
This great era in the history of calligraphy has produced two great calligraphers-Zhong You and Wang Xizhi. They opened a new page in the history of China's calligraphy development. It sets an example of the beauty of real books, running scripts and cursive scripts. Since then, in various dynasties, even in Japan in the East, scholars have always preferred sons to daughters. Sheng called himself "two kings" (father and son of Wang Xizhi), and even respected Wang Xizhi as a "book saint". Wang Xun (nephew of Xi) wrote a book of good deeds, and Yuan Botie was handed down from generation to generation.
Introduction of famous representative calligraphers and their works
(Figure) Lanting Post
Wang Xizhi (303-36 1)
Less words, evil Linyi people (now Shandong). Jin Huaidi was born in Yongjia (AD 307) and died in Xingning (AD 367). The officers of the right army generals will review the internal history, so later generations will call it "Wang Youjun". He came from a noble family in the Jin Dynasty. When Wang Xizhi was twelve years old, he was taught the theory of brushwork by his father, and he realized that "language is based on the outline". When I was a child, I studied calligraphy under the famous female calligrapher Mrs. Wei at that time. Later, he crossed the river to the north, visited famous mountains, learned from others, observed and studied "combining various laws and preparing a family", and reached the height of "being more expensive than others and being the first in ancient and modern times".
Wang Xizhi's regular script, such as Le Yi Lun, Huang Ting Jing and Dong Fangshuo Hua Zan, was famous in the Southern Dynasties and had a great influence on later generations. Wang Xizhi is an innovator in calligraphy, and his main achievements are in running script and cursive script. His cursive script is honored as "the sage of grass" by the world. He combined some advantages of using the brush and Guan Zi scattered in ancient and contemporary calligraphy works to become a brand-new calligraphy work.
His main works are: On Le Yi: The Book of Wang Xizhi, and Little Eraser. Beautiful brushwork, energetic, fat and thin, very in line with the rules of regular script. Sui Zhiyong called it "the first official book", and Chu Suiliang also spoke highly of it in the Tang Dynasty.
Huang Tingjing: In the small print, there is a legend about Huang Tingjing: A Taoist in Yinshan wanted Wang Xizhi's calligraphy. Because I know that I love geese like life, I specially prepared a cage of fat white geese as a reward for writing scriptures. When Wang Xizhi saw the goose, he happily wrote a sutra to the Taoist priest for a long time and happily "caged the goose home". The original text is contained in the Book List of Southern Dynasties. It is said that Wang Xizhi's book is the Tao Te Ching, but it has become the Huang Ting Ching after repeated dissemination. Therefore, Huang Tingjing, also commonly known as "changing goose posts", ended with "May of the 12th year of Yonghe (356)", and now it is only a transcript of later generations.
Preface to Lanting Collection: This article is a preface written by Wang Xizhi for some scholars' poems on March 3rd, the 9th year of Yonghe in the Eastern Jin Dynasty (AD 353). * * * 28 lines, 324 words, perfect composition, structure and brushwork, is his masterpiece at the age of 33. Later generations commented that "the font of the right army has changed. Its heroic spirit is natural, so it is considered to be a model from ancient times to the present. " Therefore, calligraphers of all ages regarded Lanting as "the first running script".
Calligraphy in Southern and Northern Dynasties
(Figure) Calligraphy in Southern and Northern Dynasties
Calligraphy of Folk Calligraphers in Southern and Northern Dynasties
After the rebellion of the Eight Kings and the infighting of the royal family, the power gradually declined. In the north, with the demise of the Western Jin Dynasty. It formed the chaotic period of "Five Hus and Sixteen Countries". After the Tuoba family established the Northern Wei Dynasty in 16 countries, it contributed to the relative unification of 149. This is the Northern Dynasty. Jinshi moved eastward and perished. From 3 17 to 420 AD, it was the Southern Dynasty.
At this time, calligraphy also inherited the atmosphere of the Eastern Jin Dynasty, and it was very popular from emperors to literati. Calligraphers in the Northern and Southern Dynasties are full of stars, and anonymous calligraphers are the mainstream. They inherited the fine tradition of the previous generation of calligraphy and created excellent works worthy of their predecessors, which created the necessary conditions for the prosperity of calligraphy in the Tang Dynasty.
Wei Bei was the best calligrapher in the Southern and Northern Dynasties. Weibei is the general name of inscription calligraphy in the Northern Wei and Southern and Northern Dynasties, and it is the transitional period from official script in Han Dynasty to regular script in Tang Dynasty. Kang Youwei said: "Anyone who chooses a family in Weibei is an adult. It is beautiful to combine all the families. " In the early Tang Dynasty, Yu Shinan, Ou Yangxun, Chu Suiliang and other regular script writers directly inherited the brushwork used in the annals of the Six Dynasties.
Main calligraphers and works:
Zhiyong (Southern Dynasties-Sui and Tang Dynasties)
He is the seventh generation grandson of Wang Xizhi and the descendant of Wang Huizhi, the fifth son of Wang Xizhi. He is a great calligrapher who strictly abides by family laws. He writes hard. Feng Wu's Original Calligraphy says that he lived in Yongxin Temple in Xing Wu and didn't go downstairs for decades, so he got more than 800 yuan for a copy of Wen Zi and Jiangdong temples. He used an old pen and buried it like a grave. This is how the story of "returning a pen to the grave" came about. Dong Qichang's "Essays on Painting Zen Rooms in Ming Dynasty" said that he learned from Zhong You's manifestation table that "every time you use a pen, you must twist it, turn it and fix it. When you write, you want to see through the back of the paper." He, who wrote Thousand Characters, said: "Pens and pens come from the air and live in the air. Although there are leaks in the house, it is not enough to say. " When we read his ink painting "Thousand Characters" carefully, we can see that he hides his head and protects his tail, and his brushwork is tortuous, subtle and rhythmic. Dong and his words can be described as accurate, specific and appropriate.
The main works are: Thousand Characters, which is Zhi Yong's True Grass Thousand Characters. It has full lines, skillful brushwork and tied the knot in writing. The predecessors commented that his book is "the right army is the meat of wisdom and courage", which can be confirmed here. His "Thousand Characters in Regular Script" is vigorous, dignified in structure, very clear in the beginning and end of strokes, full of changes in reality and reality, and very close to the classic writing methods of Jin and Tang Dynasties, which is convenient for beginners.
Weibei's masterpiece
1. Monument: Except for the North Wei Kou Song Gaoling Temple Monument, which contains more official ceremonies and simple style, the East Wei Wang Monument is round and soft, with the exception of being a bad boy. The other monuments are all well-behaved students, complete and angular, such as Huifu Temple Monument, Gaozhen Monument and Zhang Hu Monument.
Congbaozi Monument: The Southern Dynasties followed the gold system and it was forbidden to erect monuments, so there were few inscriptions. And Yunnan's "Ercongbaozi Monument" (Conglongyan Monument) is a shining star, shining in the night sky. Congbaozi Monument was built by the leaders of Yunnan border ethnic minorities under the influence of Han culture, imitating the Han system. This tablet was inscribed in the fourth year of Emperor Jun of the Eastern Jin Dynasty (405).
Calligraphy is a regular script with obvious official meaning. Some horizontal paintings in the monument still retain the waves of official script, but the structure is square and close to regular script. With Fang Bi as the main pen, the pen is unpretentious, with cleverness in it. It looks stupid, but it often flies.
It is appropriate for Kang Youwei to evaluate this monument as "the ability of an ancient Buddha" in Zhou Guangyi Double List.
Yanlong Monument: Yanlong Monument was built in the second year of the Southern Song Dynasty and Ming Dynasty (458), 53 years later than Yanbaozi Monument. It can be said that these two monuments are both contemporary works. Its structure is mainly square, but the turning point is changed from circular to pen-shaped, unlike the rectangular corner of the monument, which has the characteristics of regular script. It can be seen from the roundness and strength of the strokes in Jilong Yanbei that the strokes actually originated from seal cutting. Although the strokes are divided into Fiona Fang, they are extremely heavy. The technique of "Keelung Yanbei" is characterized by pitching and concession, alternating density, strange posture and relaxed structure. Kang Youwei commented: "Painting is like carving jade with a kundao, but it is beautiful; Cloth is like a meticulous painter, with different intentions. It is the ultimate law for officials. "
Zhang Menglong Monument: This monument was built in the third year of Emperor Xiao of Ming Dynasty in Northern Wei Dynasty (522). Its full name is "Wei Lu Taishou Zhang Fujun Qing Song Monument", which is now in the Confucius Temple in Qufu, Shandong Province. It is one of Wei Bei's later masterpieces. Alina Zhang is vigorous and resolute, which can be regarded as the continuation and development of stone style. For example, the verticality of the pen, the square edge of the fold and the point of the triangle all retain the old appearance of the stone; But it is not all square, but changeable, square and round, more delicate than stone. In addition, compared with the early Weibei, it is not difficult to see the evolution process of Weibei from coarse to fine.
Ben. The seal script written by Xu Xuan is reflected in the sun, and there is a thick ink in the center of the stroke. Because the strokes are straight, they are often used in painting, so they are also called "leakage marks" and "cone painting sand" Heilongjiang Provincial Museum has his Fragments of Thousand-character Characters of Seal Script (Song Transcript).