In China's ancient literary theory, ancient calligraphy theory is an extremely important part and the most precious legacy of China's artistic theory.

Relatively speaking, the appearance of ancient calligraphy theory was later than the formation of calligraphy art. Judging from the information available at present, ancient books on calligraphy first appeared in the Han Dynasty. Yang Xiong, a scholar and writer in the Western Han Dynasty, put forward a famous conclusion in Fa Yan Wen God: "Books are also painted with heart." Although the word "calligraphy" here does not specifically refer to calligraphy, it first discusses the fundamental proposition of China and calligraphy theory-the relationship between calligraphy and calligraphers' thoughts and feelings, as well as the performance characteristics of calligraphy art, which has had a far-reaching impact on later calligraphy creation and calligraphy theory, and has become the source of China's book theory history.

The Han Dynasty was the initial period of ancient calligraphy theory in China. With the maturity and prosperity of calligraphy art, theoretical works devoted to calligraphy have appeared. The earliest calligraphy article was a cursive script written by Cui Yuan, a calligrapher in the Eastern Han Dynasty. Cui Shi believes that the emergence of cursive script is a reflection of social needs from complexity to simplicity, describing and praising the formal beauty and dynamic beauty of calligraphy. It fully affirmed the artistic aesthetic function and value of calligraphy. Since then, several important calligraphy works have appeared, such as Zhao Yi's non-cursive calligraphy, Cai Yong's Shi Zhuan, Fu Bi, Babylon and Old Events. In particular, the great calligrapher Cai Yong's "On Pen" and "Nine Potential" occupy an important position in the history of China's calligraphy theory.

Wei, Jin, Southern and Northern Dynasties is the mature period of ancient calligraphy theory in China. During this period, the art of calligraphy flourished and a large number of famous calligraphers appeared. The development of calligraphy also promoted the study of calligraphy theory. During the Western Jin Dynasty, there appeared a number of theoretical works describing and comparing the art of calligraphy with various objects and trends, such as Li Shuti written by Cheng Gongxiang, Si Shutu written by Wei Heng, Cao Shu written by Suo Jing, Fei Bai Ti written by Liu Shao and Cao Shu Fu written by Yang Quan, which showed a kind of "objectification". In the Eastern Jin Dynasty, calligraphers were not satisfied with the description of the external forms of calligraphy, but began to explore the rules of using pens, the structure of structures and the composition skills, and paid attention to the relationship between people's subjective will and calligraphy. For example, Mrs. Shi Chuanwei's brushwork, Wang Xizhi's After Writing Mrs. Wei's brushwork, calligraphy theory, brushwork, and Mr. Bai Yun's calligraphy notes are all important calligraphy theories in this respect. In the Northern and Southern Dynasties, people began to pay attention to the comments on various calligraphers due to the influence of the times. The influential works in this field include Yang Xin's Abstracts of Ancient Books, Yu He's On Books and Yu Jianwu's Calligraphy. In particular, calligraphy theory, a monk named Wang, made a deliberate exploration of the process and characteristics of calligraphy creation, which had a far-reaching impact on the development of calligraphy art in later generations.

The Sui and Tang Dynasties was the prosperous period of ancient calligraphy theory in China. Although the Sui Dynasty was not established for a long time, its calligraphy inherited the inscriptions of the Southern and Northern Dynasties and was inspired by the Tang Kai School, which laid the foundation for the establishment of the regular script method in the Tang Dynasty. His calligraphy theory also focused on discussing the brushwork and structure of regular script, and Zhi Yong's Eight Laws of Yongzi and Zhi Guo's Ode to the Heart are the representatives in this respect. With the heyday of calligraphy art in the Tang Dynasty, calligraphers and famous artists came forth in large numbers with various schools. Calligraphy theory has also flourished, and a large number of systematic and weighty calligraphy books have been published one after another. The discussion of detailed techniques and the analysis of the law of calligraphy creation have gradually replaced the elaboration of the overall impression of calligraphy art, involving all aspects of calligraphy art and embodying the atmosphere of "respecting the law" in the Tang Dynasty. The Thirty-six Methods, Sun's Book Spectrum, Book Discussion, Book Slips, Explaining Words, Six Books Theory, Ten Methods of Using a Pen, Dou Meng's Narrative Fu, His Book Theory and Yan Zhenqing's Book Spectrum, especially the Thirty-six Methods and Sun's.

The Song Dynasty was a period of change in ancient calligraphy theory. For various reasons, the calligraphy in Song Dynasty was not as good as that in Tang Dynasty, but it was able to find another way, and the calligraphy in Song Dynasty was very popular for a while. And on calligraphy theory. Song Dynasty advocated that calligraphy creation should not be bound by statutes, and it is unnecessary to haggle over specific methods such as stippling and layout, but should pay attention to the charm of works and the inner spiritual temperament of calligraphers, freely express their thoughts and strive for innovation. It is a reflection of the calligraphy style of "Shang Yi" in Song Dynasty. Zhu's sequel "Decisive Cases", Su Shi's Lun Shu, Dongpo's Inscription and Postscript, Huang Tingjian's Lun Shu, Mi Fei's Book History, Hai Yue's Famous Words and Jiang Kui's Lun Shu Pu are all representative works of this period. The continuation of the book score is particularly systematic and refined, which has been praised by calligraphers of all ages and has a great influence.

The art of calligraphy in the Yuan and Ming Dynasties was still popular, and it has not yet come out of the trough of calligraphy creation. In calligraphy theory, by inheriting the laws of Jin and Tang Dynasties, he denied the Song people's style of "respecting ideas", and then attached importance to the formal beauty of calligraphy art, demonstrating the demeanor of Wei and Jin Dynasties. Calligraphy in the Yuan Dynasty was dominated by laws and decrees, and the representative works included Yan Ji, Yan Ji by Liu Youding and Han Lin Yaoji by Chen Yizeng. On the other hand, the book theory of the Ming Dynasty emphasized elegance and both strength and beauty. Tao's Society of Book History, Feng Fang's Shu Shu and Xiang Mu's Shu Pin Ya Yan are his representative works.

The Qing Dynasty is a period of connecting the past with the future in ancient calligraphy theory. Since the middle of Qing dynasty, there has been a pattern of obvious separation between tiexue and stele study, and tiexue has gradually turned from prosperity to decline, while stele study has become increasingly prosperous. Therefore, early calligraphy theory paid attention to the elucidation of pen and ink skills, and his representative works included Da Zhongguang's Book Raft and Zhu Luzhen's Book Slips. Later, it mainly discusses the theory of stele study. Ruan Yuan's North-South Calligraphy School, Beibei Nanyou, Bao's Art Boat and Kang Youwei's Art Boat are all representative works in this field, forming an atmosphere of restraining posts and respecting monuments and emphasizing the north over the south. Liu Xizai's "Notes on Yi Jian" respectively summarizes the characteristics of the North and South styles of calligraphy, emphasizing their respective strengths and being fair and objective. Moreover, The Outline of Calligraphy gives a comprehensive, systematic and essential theoretical summary of the history of China's ancient calligraphy art, the evolution history of calligraphy style, and the techniques and styles of calligraphy art. These works occupy an important position in the history of China's ancient calligraphy theory. They comprehensively and systematically summarized the theory and practice of epigraphy in Qing Dynasty, which promoted the development and prosperity of calligraphy art in Qing Dynasty. It has had a far-reaching impact on the development of modern calligraphy. The general outline of the development of ancient calligraphy theory in China is as mentioned above, from which we can easily find the following outstanding features:

First of all, pay attention to the summary and guidance of aesthetic fashion. Generally speaking, a society must have a social fashion, and this social fashion will inevitably affect all aspects of social culture; The welcome or resistance of social and cultural parties to this fashion will inevitably directly affect the prosperity and demise of this social fashion. Similarly, the aesthetic fashion of calligraphy art in different times is also different. How to guide this aesthetic trend and make it the dominant aesthetic trend of this era has become a concern and discussion of calligraphers of all ages. For example, "Shang Xiang" in the Han and Wei Dynasties, "Shang Yun" in the Jin Dynasty, "Shang Fa" in the Tang Dynasty and "Shang Yi" in the Song Dynasty all summed up the aesthetic fashion in the practice of calligraphy art in various times, which in turn guided the practice of calligraphy creation and promoted the development and prosperity of calligraphy art.

Secondly, the study of calligraphy art is comprehensive and systematic. As long as you have a cursory look at calligraphy theory's works in ancient China, you will see that the research and summary of calligraphy art in ancient China is all-round, involving all aspects of calligraphy art and forming its own system. If we compare it with China's ancient painting theory, we can better show this feature. For example, since Yang Xin began to study the history of calligraphy in the Southern Song Dynasty, there have been a number of such works in almost every dynasty. They listed the development history of calligraphy from ancient times to the end of Qing Dynasty, and preserved the complete face of the development history of calligraphy in China. Another example is the study of the evolution history of calligraphy, which involves the emergence, development, changes, concepts, characteristics and other aspects of calligraphy, such as Da Zhuan, Xiao Zhuan, Ba Fen, regular script, running script, Cao Zhang, Cao Jin, etc. It is systematic and comprehensive. Another example is the study of calligraphy techniques, which is extremely profound and comprehensive. Generally speaking, the use of pen, front, writing, knot, ink and white painting has been carefully and accurately studied.

Third, pay attention to the relationship between books and character. As early as the Western Han Dynasty, Yang Xiong put forward the famous view that "the book is the painting of the heart", and believed that the works of calligraphy art were a direct reflection of the calligrapher's thoughts, morality and taste. This view has had a far-reaching impact on later generations. Zhu, a calligraphist in the Northern Song Dynasty, believes in his sequel "Duane" that the quality of a person's calligraphy art has a great relationship with his character cultivation. For example, he said: "Duke Lu can be described as a loyal minister, but ... was born in Bihan, resolute and well-prepared, such as a loyal minister and a righteous man, and he can't win big festivals." "Yangtze Cloud" paints with books as its heart, and Lu is convinced of this. "This actually means that Yan's dignified and vigorous style comes from his high morality and integrity. Liu Xizai, a great calligrapher in modern times, put it more clearly in The Outline of Books: "Books are like books. If you study, if you are talented, if you are ambitious, in short, you are like a person. "He believes that we can not only see the calligrapher's knowledge, talent and ambition through calligraphy, but also see the calligrapher himself. A good character makes a good book.

In addition, he is also good at expressing the feelings of the appreciator with vivid metaphors, thus fully showing the interweaving of various psychological activities in the process of appreciation. As early as the Eastern Han Dynasty, Cai Yong emphasized that the style of calligraphy creation should be integrated with various vivid forms of human nature with rich and beautiful metaphors. Since then, calligraphers of all ages have inherited this tradition. For example, Sun wrote in "Book Score": "Seeing the difference between a husband hanging a needle and revealing it, the wonder of falling rocks in the rush of thunder, the horror of flying beasts, the state of dancing snakes and being surprised, and the shape of landing on the shore and falling into danger." Or as heavy as a cloud or as light as a cicada; Guide the spring, the mountain will be safe; As thin as a cliff in the first month, the stars hold the moon ... "Here, the author uses a series of vivid metaphors-actually metaphors-to compare the wonderful scenes of Zhong You, Zhang Zhi and Erwang's calligraphy, which makes people get a perceptual understanding and easy to understand. This kind of example is really endless.

Lisi brushwork

The method of using a pen, first rushing back, returning to illness; If the eagle dies at Peng, believe in nature and cannot be changed. If you are full, you will get water if you swim; Dancing pens are like mountains and clouds. Or roll or relax, at first glance, light and heavy, thoughtful, to see for yourself.

Zhao Feiyi's cursive script

There are Liang and Jiang in Yuxian, both of whom are contemporary poets. However, Zhang Sheng's cursive script likes Confucius and Yan Yan too much. Kunda wrote a book for Meng Ying, and they all recited their articles. They started to write by hand, and they were not tired at all. Therefore, the followers of the later school compete for the two saints, keep the composition in order, and some people write volumes, thinking it is a dark play. I'm afraid I'm going to follow the classics and change customs, which is not the reason for my prosperity. I thought Luo and Zhao were disappointed with what they saw, so I used cursive script to comfort Luo, Zhao, Liang and Jiang Yan.

I stole a book written by Zhang Junsuo and Zhu Shizhen, saying that healthy qi can get rid of evil spirits, people have no side, and demons can't help themselves. Sincerity can be said to be a person who believes in truth and knows that life is also happy. If the husband praises Du Fu, Cui Fu, Guluo, Zhao Fu and Xin Qiji, it means to cultivate one's morality. There is no word to praise, and being cheap is expensive! Is the prosperity of cursive script recent? The first half was not hung by the sky, and the second half was not vomited by Heluo, but made by the saints in Central Africa. At the end of the Qin dynasty, the punishment was heavy, the official books were cumbersome, the war and attack were combined, the military books were crossed, and the feathers were flying. So it is grass, a simple sign, not a saint's business. However, it is difficult to save trouble by deleting, and the loss is restored to a single order. It is very important to see things easily and understand them easily. Therefore, he praised: "Take care of the overall situation." Now people who learn cursive script don't think about its simplicity, but think that Du and Cui's methods are what Gui Long saw. His gang on crutches admire Qu Longyi and can't lose them. The above teeth, if involved in learning, will be abolished, and Du, Cui as a model; Related to private books, every book says: it is better to press, so it is not as good as grass. Herbal medicine is easy and fast, but it is difficult and late today, and many fingers are missing.

Ordinary people have different qi and blood and different bones and muscles. Close-minded and clumsy. The book is ugly, but it is strong. If people are beautiful and evil, how can they learn to be similar? Shi had a heart attack before and stood up, which only increased his ugliness. Zhao's daughter is good at dancing and graceful, and the scholar is full of fire and kowtowing. , Cui, and others all have extraordinary talents. In their spare time, they are well-read and have studied in Sri Lanka, which is admired by future generations. Serve the people wholeheartedly, drill hard and raise high, forget its fatigue, fidget and can't eat. Ten days, a few pills and a month's ink. Although I am in the crowd, I don't want to talk about playing and painting. I covered the wall with grass, cut my arm through my skin, broke my fingers and claws, and saw bleeding in my cheeks. However, this is a sentence that is not beneficial to clumsy works, and it is like adding ugliness to effective people and losing the integrity of toddlers. And the cursive hand covers the ear of the essence. Villages and towns are not satisfied with this ability. The court does not take this as an official, the doctor does not take this as an examination, and the four subjects do not take this as a preparation. Recruitment does not require this, and performance appraisal does not use this word. Good is not in politics, and bad is not in governance. Isn't it good to say it? The husband's business must be outside, and the small one must be big. You can't see the sky without looking down. Fang Rui is good at ticking, but he can't see the world.

The first study of this article is sharp and concise. If it is used in other bibles, we can learn from the calendar, advance the progress, explore the depth of the hook, praise the gods, see the heart of heaven and earth, and push the feelings of saints. In skepticism, reason is common, while Confucianism is embarrassing. According to the correct path of heresy, many elegant people are willing to associate with Zheng Sheng, preaching the highest moral harmony and the mystery of grand ethics. If you are poor, you can keep your reputation and respect the Lord for peace, so that you can lead the world and learn from others forever. Is it profound?

Cui yuancao's book potential

The prosperity of the book contract began with the emperor; Write the trace of a bird to confirm the article. The last leaves and ancient books are numerous; There are many secluded times and a lot of power in politics. Officials and businessmen are ridiculous, and their ink is suppressed; However, many old words of Zuo Li have been deleted. The cursive method is simple; Timely instructions, used to force death. Both work and use, love the sky and save effort; The change of pure frugality must be ancient. Observe its image, with pitching instruments; Square is not square, round is not square. Restrain the left and promote the right, and look forward to it. Birds and beasts are eager to fly; A cunning rabbit is violent and will run before running. Or □□□□ point □, shaped like gobang; Never leave. Animals are angry and depressed, and they are very strange after being released. Or when you are nervous and in danger, you will be possessed by evil spirits and grab the branches like mantis. Collect the pen, and the rest are entangled; If the mountain bee is poisonous, look at the gap; Get a snake to the cave and don't hang your head. It is so far away that you can watch it if you are rushing to the shore; Just look at it. A painting can't move. It is best to be implicit and temporary. A little older, like Ross.

Xu Shen's Preface to Explaining Words.

In ancient times, the king of Xi family was also in the world. He looked up at the sky, looked down at the earth, and looked at the articles on birds and animals, the earth and the various bodies, so he started the gossip of hanging constitutional images in Yi. And Shennong tied the rope to rule the unified affairs, which was complicated and fraudulent. In Huangdi Neijing, Cang Xie saw the traces of the hoofs of birds and animals and knew the difference between them, so he made a book contract first. "All-encompassing, all-encompassing, all-encompassing"; Yang Yang in Wang Ting. The orator preaches in the court, and the gentleman gives alms, which is taboo in virtue. At the beginning of writing, it was like an pictograph, so it was called Wen. After that, the form and sound benefit each other, that is, the word. The writer is the foundation of image; Words, words make milk bubble. Books written on bamboo and silk are just like books written by writers. In order to achieve the world of five emperors and three kings, it changed its style. There are seven generations of people sealed in Mount Tai, with similarities and differences.

Cai Yong, On Writing, Nine Stones.

Stone brick

At the beginning of calligraphy and painting, Cang Xie followed the sage and wrote later because of the birds' traces. There are six marks in the body, which should be very confusing. Or like a turtle, or more effective than Longlin, with long wings and short body. If the millet droops, it will be like a snake. The waves are fierce, the eagle shakes the bird and stretches its neck and wings like lingyun. Or lightly throw, the end is slightly thicker. If it is absolutely connected, the lower end hangs down like Ruth. Followers are like hanging, and the balance is like weaving. They are evil and interesting. They are not square or round. If they fly, they will be embarrassed.

From a distance, swans will be delayed if they swim in groups. I looked at it forcibly, but I couldn't see it. What do you mean? Invincible. Yan Sang can't count his bows, and Li Lou can't see his gaps. It was just a slap in the face. It is awkward to recite. At the beginning of the book, the charm is impressive. Hua Yansu is an art lover. Jia Wende's Righteousness was not published by the author of Yi. In short, consider the pitch of the font.

Pen theory

The books are scattered. If you want a book, you have to put it down, put it down, and then write. If forced, Zhongshan Rabbit is luxurious, but it is not good. Husband's book, first sit quietly and meditate, feel at ease, say nothing, get angry and lose interest, and be mysterious and colorful. If it's for the supreme, it's all wrong.

For the text of a book, it must conform to its shape. If you sit and walk, if you fly, if you come, if you lie down, if you are sad and happy, if the insect eats leaves of wood, if the sword is long, if the bow is strong and the arrow is hard, if it is fire and water, if it is fog, if it is sun and moon. Only those with images can be called books.

Jiushi

The number of volts originates from nature, stands naturally, is born of yin and yang, is born of yin and yang, and the situation comes out. Hiding the head and protecting the tail, the country is in it, written hard and beautiful. Therefore, it is said: the potential comes deep, the potential is unstoppable, and the soft pen is strange.

Where the words are written, covered above and inherited below, which reflects the situation and has no potential.

It is more appropriate to turn the pen and review it left and right. Don't leave the program alone.

Zangfeng, pointing out the traces of entry and exit, wants to go left and right first, and then go back to the left.

Hide the head, the round pen belongs to paper, so that the pen heart often strokes.

Protect the tail, draw a gesture, and try to close it.

This disease has been excluded.

Grab the pen for the front use.

Sese potential in tight tactics.

Horizontal ruler, vertical ruler.

These nine names, though not taught by teachers, can also be consistent with the ancients. Creating a beautiful ear requires a lot of calligraphy.