The most representative of the calligraphy characteristics of the Han Dynasty is the calligraphy on the inscriptions and slips. The Eastern Han Dynasty inscriptions are numerous, the inscriptions of this period are carved by the Han Dynasty, the font is square, the law is strict, and the waves are distinct. At this time, Lishu has reached its peak.

The birth of cursive script in the Han Dynasty is of great significance in the history of the development of calligraphy art. It marks the beginning of calligraphy as an art that can express emotions and the personality of the calligrapher with a high degree of freedom. The initial stage of cursive writing was Caoli, and in the Eastern Han Dynasty, Caoli was further developed to form Zhangcao, which was later founded by Zhang Zhi, that is, cursive.

Three Kingdoms period

During the Three Kingdoms period, Lishu began to descend from the peak status of the Han Dynasty to evolve into regular script, which became another subject of calligraphy art. The regular script, also known as the main book, the real book, was created by Zhong Xuan. It was during the Three Kingdoms period that regular script entered the history of stone carving. During the Three Kingdoms (Wei) period, the "Recommended Season Straight Table" and "Declaration Table" have become treasures that have been seen for hundreds of generations.

Two Jin Dynasty periods

In the Jin Dynasty, advocating "elegance" and "item" in life and affairs, the art of pursuing the beauty of neutrality and lightness, calligraphy has come out in large numbers, and the artistic taste of the two kings (Wang Xizhi and Wang Xianzhi) has met the requirements of the scholars, and people have become more aware that there is an aesthetic value in writing words. The most representable

The spirit of the Wei and Jin dynasties, the most influential calligrapher in the history of calligraphy is Wang Xizhi, known as the "sage of calligraphy". Wang Xizhi's book "Orchid Pavilion Preface" is known as "the world's first line of books", commentators say that its gesture is like floating clouds, like a dragon, his son Wang Xianzhi's "Luo Shen Fu" calligraphy is strong, and the creation of "broken body" and "one book" is a great contribution to the history of calligraphy. With the support of Lu Ji, Wei Zong, Suo Jing, Wang Dao, Xie An, Jianliang, and other calligraphy families, the southern school of calligraphy is quite prosperous. Yang Xin of the Southern Song Dynasty, King Seng Qian of Qi, Xiao Ziyun of Liang, and Chen Zhizhi all followed in their footsteps.

At the peak of calligraphy in the two Jin Dynasty, it was mainly manifested in Xingshu, which was a font between cursive and regular script. His representative works are "Three Hopes", namely "Boyuan Post", "Sunny Post when the Snow is Fast" and "Mid-Autumn Post".

Northern and Southern Dynasties period

The calligraphy of the Northern and Southern Dynasties period entered the era of the North Tablet and the South Post. At this time, calligraphy is the most victorious in Wei stele. Wei stele is the general name of the stone carving calligraphy of the Northern Wei Dynasty and the Northern and Southern Dynasties with a similar style of calligraphy, and it is the calligraphy of the transition period from the Han Dynasty to the regular script of the Tang Dynasty. From the Jin to the Eight Kings Rebellion, after the strife in the royal family, the power gradually declined. In the north, with the fall of the Western Jin Dynasty. A chaotic period of "Five Hu and Sixteen Kingdoms" was formed. After the Tuoba clan ended the Sixteen Kingdoms and established the Northern Wei Dynasty, which contributed to the relative unification of 149 years, which was the Northern Dynasty.

The calligraphy of the Northern Dynasties is mainly based on inscriptions, especially in the Northern Wei Dynasty and the Eastern Wei Dynasty, and the style is also colorful. Representative works include "Zheng Wengong Monument", "Zhang Menglong Monument" and "Envoy Monument". At this time, calligraphy was a transitional period from the Han Dynasty to the Tang Dynasty. Kang Youwei said: "All Wei monuments, take one family, all are enough to become adults." If you are in harmony with all families, you will be beautiful. Zhong Zhishuai's "Xuexuan Books" said: "Wei tablet calligraphy, you can get a glimpse of the old style of the Han and Qin dynasties, and you can observe the customs of the Sui and Tang dynasties. "At the beginning of the Tang Dynasty, several regular script masters such as Ouyang Xun, Yu Shinan, Chu Suiliang, etc., were all taken from the Wei tablet.

The Jin dynasty moved eastward to its demise, from 317 AD to 420 AD, and was the Southern Dynasty. The calligraphy of the Southern Dynasty also inherited the atmosphere of the Eastern Jin Dynasty, and was very fond of it from the emperor to the Shishu. The calligraphers of the Northern and Southern Dynasties are as bright as the stars, and the unknown calligraphers are the mainstream. They inherited the fine tradition of calligraphy of the previous generation, created excellent works worthy of their predecessors, and also created the necessary conditions for the formation of the flourishing situation of calligraphy in the Tang Dynasty.

Five dynasties of the Sui and Tang dynasties

Seeking the calligraphy of the Sui Dynasty

The Sui ended the chaotic situation of the Northern and Southern Dynasties, unified China, and the Tang Dynasty after it was a relatively stable period. Sui Kai inherited the history of the two Jin and Northern and Southern Dynasties. Under the new bureau of the Tang Dynasty norms, Sui has a tablet version of the legacy, mostly true books, divided into four styles:

1. Fair and pure and such as Ding Daohu's "Qifa Temple Tablet" and so on

2. Strict prescriptions such as "Dong Meiren's Epitaph" and so on

3. Deep and round strength, such as "Xinxing Zen Master Tower Ming" and so on

4. Beautiful and slender such as "Longzang Temple Tablet" and so on.

Calligraphy flourished in the Tang Dynasty

The culture of the Tang Dynasty was broad and profound, brilliant and splendid, reaching the highest peak of Chinese feudal culture, which can be described as "the book was extremely prosperous in the early Tang Dynasty". In the Tang Dynasty, there are more ink blots than in previous generations, and a large number of tablets have left valuable calligraphy works. The calligraphy of the entire Tang Dynasty has both inherited and innovated the previous generations. The development of regular script, line script, and cursive script to the Tang Dynasty has entered a new situation, and the characteristics of the times are very prominent, and the impact on future generations far exceeds that of any previous era.

At the beginning of the Tang Dynasty, the national strength was strong, and the calligraphy came out of the regular script from the relics of the Six Dynasties. Yu Shinan, Chu Suiliang, Xue Ji, and Ouyang Tong are the mainstream of calligraphy. The general characteristics of the structure are rigorous and tidy, so the descendants of the book have the "Tang Dynasty heavy frame" said, for a time respected as the "crown of Han Mo" extended to the Tang Dynasty song and dance Shengping, Confucianism and Taoism combined, Li Yong changed the right military law, unique, Zhang Xu, Huaisu to the extreme of cursive expression in a mad drunken state, Zhang Xu Shi called "grass sage", Sun Guoting cursive is good at elegance, Yu Ruhe Zhizhang, Li Longji also strive to create a new realm of true frankness, wind and bones. And Yan Zhenqing cashiered the ancient law in the new meaning, and gave birth to the new law outside the ancient meaning. Dong Qichang said that the Tang people took the law from the book, and Lu Gong was prepared. In the late Tang Dynasty, the country declined, and Shen Chuanshi. Liu Gongquan changed the law again. Skinny and self-conscious. It further enriched the method of Tang Kai, and in the fifth generation, Yang Ning style and the length of Yan Liu. The two kings of Shangshuo, the flank of the forward, spread the effort, and then the image of Chengping alone at the time of the chaos, but also the return of the Tang book. On the occasion of the Five Dynasties, the wind of Crazy Zen was blazing, which also affected the world of calligraphy, although "Crazy Zen calligraphy" did not show a scale in the Five Dynasties, but it had a great impact on the calligraphy of the Song Dynasty.

The art of calligraphy in the Tang Dynasty can be divided into three periods: the early Tang Dynasty, the Middle Tang Dynasty, and the late Tang Dynasty. In the early Tang Dynasty, inheritance was the mainstay, respect for the law, and deliberately pursued the beauty of calligraphy in the Jin Dynasty. Zhongtang continues to innovate and is extremely prosperous. Late Tang calligraphy also made progress.

There were six types of highest schools in the Tang Dynasty, namely Guozijian, Taixue, Simenxue, Law, Calligraphy, and Arithmetic. Among them, calligraphy, specializing in calligraphy and calligraphy theorists, was a pioneering achievement of the Tang Dynasty. There have been many famous masters in the past dynasties, shining like stars. Such as Ouyang Xun, Yu Shinan, Chu Suiliang, etc. in the early Tang Dynasty; Yan Zhenqing and Liu Gongquan in the Tang Dynasty are all calligraphers. In the late Tang Dynasty, there were Wang Wenbing's seal script, Li He's regular script and Yang Ning's "Erwang Yanliu" aftertaste.

Calligraphy of the Sui and Tang dynasties can be divided into three stages

(1) Sui to early Tang Dynasty

By the beginning of the Tang Dynasty, the art of calligraphy gradually emerged from the legacy of the Six Dynasties and emerged in a new manner. At the beginning of the Tang Dynasty, regular script was the mainstream, and the general feature was that the structure was strict and neat.

(2) The stage of the Tang Dynasty and the Middle Tang Dynasty

Calligraphy in the Tang Dynasty, like the social form of the time, pursued a romantic way of forgetting the form. Such as the wild grass of "upside down drunkenness" (Zhang Xu, Huaisu), and Li Yong's travel book. In the Middle Tang Dynasty, regular script once again made a new breakthrough. Represented by Yan Zhenqing, it laid the standard for regular script, set a model, and formed orthodoxy. At this point, the style of Chinese calligraphy has been fully determined.

(3) The late Tang Dynasty and the fifth dynasty stage preserved the Tang legacy

In 907 A.D., Zhu Quanzhong, a separatist, destroyed the Tang Dynasty and established the Later Liang, which lasted through the Later Tang, Later Jin, Later Han, and Later Zhou, called the Five Dynasties. Due to the weakening and chaos of the country, culture and art are also on a downward trend. Although the art of calligraphy continued from the end of the Tang Dynasty, due to the influence of wars and wars, it formed a general trend of decline and decline. On the occasion of the Five Dynasties, it is commendable in calligraphy when Yang Ning style is pushed. His calligraphy has been the mainstay of the five generations of calligraphy. In addition, there are accomplished calligraphers such as Li Yu and Yan Xiu. At this point, the straightforward and rigorous style of writing in the Tang Dynasty has come to an end, and the "Four Families" of the Northern Song Dynasty have followed suit, setting off a new era of waves.

Song to Mingzhong

Shang Yi declares affection

Calligraphy of the Song Dynasty

The connotation of calligraphy in the Song Dynasty contains four points: one is philosophical, two is calligraphy, three is stylized, and four artistic conception is expressed, and at the same time advocates individuality and originality in calligraphy creation. These are reflected in calligraphy, if the Sui and Tang dynasties of the Shang law, is the embodiment of "work", then in the Song Dynasty, calligraphy began to appear in front of the world with a new face of Shang Yi lyricism. This is to have a calligrapher in addition to the "natural", "work" two levels, but also need to have "knowledge", that is, "bookish atmosphere", the four families of the Northern Song Dynasty changed the appearance of Tang Kai, directly Jin post book heritage.

Whether it is Cai Xiang and Su Dongpo, who is highly talented, or Huang Tingjian, who looks up to the ancients, and Mi Fu, who is scattered and dangerous, all try to express their calligraphy style at the same time, highlight a kind of unconventional posture, so that the spirit of learning is depressed and depressed between the pen and ink, and gives people a new aesthetic conception, which is further extended in the Southern Song Dynasty Wu Shuo, Lu You, Fan Chengda, Zhu Xi, Wen Tianxiang and other calligraphers, but the Southern Song Dynasty calligrapher's knowledge and pen and ink skills have not been compared with the Northern Song Dynasty four. The representative figures of the calligraphers of the Song Dynasty are Su, Huang, Mi and Cai.

The Inheritance of Calligraphy in the Five Dynasties and the Two Song Dynasties: An Analysis of the Continuity of Calligraphy Traditions Between Generations

Shokakaku calligraphy day lecture

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The art of calligraphy in the Yuan Dynasty

At the beginning of the Yuan Dynasty, the economic and cultural development was not large, and the general situation of calligraphy was to advocate retro, and the patriarchal Jin and Tang dynasties were less innovative. Although politically the Yuan Dynasty is a foreign rule, but culturally it has been assimilated by the Han culture, and the Song Dynasty's informal artistic conception pursuit is different, the meaning of the Yuan Dynasty is manifested in the pursuit of open beauty that deliberately seeks work, so Su Shi advertises that "I can't make a book with a book", and Zhao Mengfu advocates that "it is not easy to use a pen for eternity" The former pursues the meaning of the will, and the latter emphasizes the meaning of the intention. The core figure of the Yuan Dynasty calligraphy circle was Zhao Mengfu, and the regular script "Zhao Ti" he founded was called the Four Bodies together with the European style, Yan style, and Liu style of Tang Kai, and became the main calligraphy style of later generations. In the Yuan Dynasty calligraphy also enjoyed a good reputation as Xian Yushu and Deng Wenyuan, although the achievements were not as good as Zhao Mengfu, but they also had their own uniqueness in the style of calligraphy. They advocate the same method of calligraphy and painting, and pay attention to the posture of knots.

The art of calligraphy in the Ming Dynasty

The development of calligraphy in the Ming Dynasty was characterized by three stages:

The first stage - the beginning of the Ming Dynasty

At the beginning of the Ming Dynasty, calligraphy was "one word is the same", and "Taige style" prevailed. Shen Du and the Xuecang brothers added fuel to the fire, pushing the stable Xiaokai to the extreme. "Where the gold version of the jade book, used in the imperial court, the secret house, the issuance of the subject country, the book of life", Ershen calligraphy was promoted as the imperial examination rules. At the beginning of the Ming Dynasty, calligraphers included Liu Ji, who was good at cursive, Song Yan who was good at cursive, Song Sui who was fine seal, and Zhu Ke, who was famous all over the world. and Zhu Yunming, Wen Huiming, and Wang Pet "three sons".

The second stage is Mingzhong

In the middle of the Ming Dynasty, the four schools of Wuzhong rose, and calligraphy began to develop in the direction of Shangzhi. Zhu Yunming, Wen Zhengming, Tang Yin, and Wang Chong's four sons went up to the Jin and Tang dynasties according to Zhao Mengfu, and took the law to Migao; The tone of the brush is also unique, which is related to the development and emancipation of ideas at that time, and calligraphy began to enter a new realm of advocating individuality.

The third stage is the end of the Ming Dynasty

In the late Ming Dynasty, a critical trend arose in the calligraphy world, and the pursuit of large-scale, oscillating visual effects in calligraphy, taking the position from the side, painting horizontally and vertically, and filling the paper with smoke clouds, made the original order of calligraphy begin to disintegrate; These representative calligraphers include Zhang Ruitu, Huang Daozhou, Wang Duo, Ni Yuanrui, etc. And Dong Qichang, the army of the Thexue Palace, still adheres to the traditional position.

clear

Lyrical

Chinese Qing Dynasty calligraphy in the history of nearly 300 years of development, has undergone a difficult metamorphosis, it broke through the Song, Yuan, Ming Dynasty since the Fan cage of learning, created the stele science, especially in the seal script, official script and the Northern Wei Dynasty stele calligraphy, can be compared with the Tang Dynasty regular script, Song Dynasty calligraphy, Ming Dynasty cursive script, the formation of a majestic and profound style of calligraphy. In particular, the calligraphers of the stele study borrowed the spirit of the past and the present and the calligraphy creation that expressed their individuality, which made the calligraphy world very active, with various schools and a prosperous situation.

At the end of the Ming Dynasty and the Qing Dynasty, the main trend of aesthetics was to take lyricism as the banner, the pursuit of individuality and the promotion of rationality were combined with each other, and the orthodox classical aesthetics and the new aesthetics of seeking differences flourished side by side. The general tendency of calligraphy in the Qing Dynasty was to be of high quality, and it was divided into two major development periods: the study of posts and the study of steles.

At the end of the Ming Dynasty, the profligate pen and ink of the book world were wild and uninhibited. The cynical atmosphere was further extended in the early Qing Dynasty, and the works of Zhu Fushan and others still showed the inner life of the self and an unstoppable expression of emotions. This point recurred again in the mid-term "Yangzhou Eight Monsters".

At this time, the gold and stone unearthed more and more, the scholar doctor from the enthusiasm of the ruler to engage in the study of the gold and stone evidence, for a while inside and outside the court, the study of the monument is rushing, and finally become the Qing Dynasty book circle of the democratic stream, plus Ruan Yuan, Bao Shichen. Kang Youwei vigorously publicized that stele study existed as a calligraphy system that competed with theology. At that time, famous calligraphers such as Jin Nong, Zhang Chuanshan, Deng Shiru, He Shaoji, Zhao Zhiqian, Wu Changshuo, Zhang Yuzhao, Kang Youwei, etc., all used the inscription to write and paint, and achieved the best reason. A dazzling state. It can be said that it is a landscape of Chinese calligraphy culture. If the desire of the theologists to find the quality was not realized, then this desire was fulfilled in the study of epigraphy.