This article is selected from the November 2021 issue of Calligraphy and Painting World magazine.
Classic. 
A brief description of the minority calligraphers of the Yuan Dynasty
Wen Wang Xinli.
Associate Professor, Doctor of History, Business School, Xinxiang University
He is a member of the Chinese Calligraphers Association.
Abstract: The rise of ethnic minority calligraphers was a highlight of the Yuan Dynasty book scene. The cultural policy of the Yuan rulers to "advocate Confucianism on the right side" and the leading role of imperial calligraphers are important reasons why ethnic minority calligraphers stand out. Ethnic minority calligraphers injected masculine beauty into the Yuan Dynasty calligraphy, enriched the content and types of calligraphy creation, and added a strong national color to the cultural history of Chinese calligraphy. The minority calligraphers of the Yuan Dynasty had a profound influence on later generations.
Keywords: Yuan Dynasty minority calligraphers;Causes;Calligraphy achievement;Stylistic features;Effect.
The Yuan Dynasty was short-lived, but its calligraphy achievements occupy an important position in the history of Chinese calligraphy. With the gradual consolidation of the Yuan Dynasty regime, due to the long-term infiltration of advanced Han culture, a large number of scholars of various nationalities in the northwest who entered the Central Plains region appeared. According to the statistics of Tao Zongyi's "Book History Meeting" and Qing Guanxiu's "Peiwenzhai Calligraphy and Painting", there were more than 550 calligraphers in the Yuan Dynasty, and more than 60 calligraphers from ethnic minorities, accounting for more than 10%, which is quite a considerable number. The rise of ethnic minority calligraphers is a highlight of the Yuan Dynasty calligraphy circle, and it is also an indispensable and important part of the study of the history of calligraphy in the Yuan Dynasty. At present, the academic community has not paid much attention to this group of calligraphers, and the research results are very limited. Therefore, the study of minority calligraphers in the Yuan Dynasty can not only expand the research scope of art history in the Yuan Dynasty, but also strengthen the understanding of China's diverse and colorful history and culture.
1. The reasons for the emergence of minority calligraphers in the Yuan Dynasty
(1) The relaxed cultural environment formed by the policy of "right-wing and advocating Confucianism".
Understanding the cultural policies of the Yuan Dynasty is a prerequisite for the study of minority calligraphers. After the Yuan unified the country, in order to better rule the Central Plains, Yuan Shizu needed to have a deeper understanding of the way of governing the Chinese emperors, and gradually realized the importance of learning Xi Han culture. At the suggestion of Yelu Chucai and others, Yuan Shizu actively promoted the "Han Law", and took "right-wing Confucianism" as the foundation of the country, and recruited and selected a group of Han and Nanren. This has provided good conditions for cultural exchanges among various ethnic groups. Under the rule of the Yuan Dynasty, China had a vast territory, many ethnic groups, and multiple ideologies. In the face of this objective situation, the Yuan rulers adopted a cultural policy of openness and inclusive development, which undoubtedly provided fertile soil for the development of calligraphy culture. For example, in the second year of Emperor Yuanqing (1313), Renzong restored the imperial examination system that had been abolished for 80 years, thus changing the fate and value orientation of many Mongolian and Semu people. At the same time, the rulers of the Yuan Dynasty appreciated and reused the Confucian scholars who had a skill, and some of them entered the official career because they were proficient in calligraphy. It can be said that the relaxed cultural environment formed by the cultural policy of "right-wing and advocating Confucianism" was an important reason why minority calligraphers in the Yuan Dynasty stood out.
(2) The exemplary and leading role of imperial calligraphers
From the beginning of the Yuan Dynasty, the imperial family arose to learn Xi Han culture, and the art of calligraphy was infiltrated into Han culture education such as classics and history. Although Yuan Shizu was not good at calligraphy, he had a long-term plan for his descendants and ordered the prince Zhenjin and the children of the nobles to learn Xi. Several emperors after Yuan Shizu liked calligraphy and courteous calligraphers. According to the "History of the Yuan Dynasty", in order to express his favor and respect for his teacher Li Meng, Yuan Renzong once gave Li Meng the word "Autumn Valley" (Li Meng's name Autumn Valley). Judging from the "Ci Li Mengrun Post" engraved by Qing Tuo's "Maoqin Palace", Renzong's calligraphy has reached a very high level. Yuan Juan's "Qingrong Collection" also recorded the matter of his imperial book "Removal of Official Praise". Yuan Yingzong's calligraphy "are all strong and indulgent, and the spirit of fortitude and heroism comes from the end of the pen", taste the four characters of the imperial inscription of Song Xuanhe's handpiece, and don't put on the "sunshine Zhao my people, the moonlight clears my heart" cross, and the four words "Zhizhi Sound" on a piano. Yuan Wenzong's cultivation of Chinese was the highest among the monarchs of the Yuan Dynasty, and the importance of calligraphy was unprecedented. He is "ancient and right-handed", and is good at poetry, calligraphy, and painting. "I like to write words, and every time I use Confucian ministers, or pro-Yu Chenhan to make an edict to give it. In the second year of the Tianli calendar (1329), the three big characters of "Nanshan Temple" were given to Nanshan Temple by Wenzong Yushu Temple. From it, we can get a glimpse of his majestic and powerful writing style. Wenzong especially liked the calligraphy of Taizong of the Tang Dynasty, and tried to copy his book "Jin Ancestral Inscription" in the Kuizhang Pavilion, "because the model is the ink book, in order to give the ministers". Xu Youren, a contemporary of the time, commented on Wenzong's calligraphy: "The pen is outstanding, and the Tang Taizong Jin Ancestral Hall is stele-style, and then it is superb." During the reign of Wenzong, Wenzhi was greatly promoted, and Kuizhang Pavilion was set up, and minority calligraphers such as Jiejiesi, Kang Lixun, and Su Tianjue held important positions, and a large number of minority calligraphers gathered here. Wenzong "wrote his own pavilion records, and even had the law of the Jin people, and the Yun Han Zhaohui was beyond the reach of the ministers." Wenzong often visited Kyujanggak to admire and appraise calligraphy and painting with literati and scholars, and participated in activities such as inscriptions. At Kyujanggak, calligraphers of various nationalities can communicate with each other beyond ethnic and hierarchical boundaries. Kuijanggak trained quite a few minority calligraphers for the Yuan Dynasty. During the reign of Emperor Yuan Shun, "to govern with leniency and peace, change Kuizhang to Xuanwen, respect Confucianism, respect the old ministers". After Emperor Yuan Shun changed the Kuizhang Pavilion to the Xuanwen Pavilion in the early years of the Zhizheng Dynasty, its functions were the same as those of the Kuizhang Pavilion, and the clerical activities were more frequent. Emperor Shun ordered the cabinet ministers to search for the law book and put it in the Kuizhang Pavilion, "pay attention to the ink after all the opportunities, and the big characters in the book are solemn and dense, and it is not easy to learn." It can be said that during the reign of Emperor Wenzong and Emperor Shun, the influence of Han culture in the imperial court reached its peak. Emperor Yuan Shun and the crown prince Ayu Xili Da Lafeng were no less elegant than Emperor Wenzong, and there are endless records about his reading and Xi in history. Ayu Xilidara attached no less importance to Han culture than previous monarchs. Ayu Xilidara grew up in the palace since he was a child, and he "built a main hall in the east palace and taught it to the sages". Ayu Xili Dala "knows how to learn, likes to write words, is really charming, and has won the wonder of Yu Yongxing, and he can't get to it without being skilled." What is good at the top will be very bad at the bottom. Several emperors of the Yuan Dynasty were so fond of calligraphy that they had a demonstrative and leading role in the government and the opposition, especially the Mongolian and Semu nobles. This is the main reason for the emergence of a large number of ethnic minority calligraphers. At the same time, it should also be noted that the Xi activities of the emperors of the Yuan Dynasty objectively not only promoted their own sinicization, but also consolidated the politics of imperial power.
(3) Yaji has expanded the scope of the influence of calligraphy culture
Yaji was an indispensable and important part of the daily life of the literati and scholars of the Yuan Dynasty, and it was also a major feature of the Yuan Dynasty, and this activity ran through the entire Yuan Dynasty. Yaji is the most frequent and active in the Yuan capital and the Jiangnan area. Among them, the largest is the calligraphy and painting inscription appreciation activity held by Emperor Yingzong and the eldest princess of Lu Guo, the daughter of Shunzong, Xiang Ge Raji, in the capital of Yuan. The court's elegance was gradually extended to the people. Scholars of different faiths and ethnic groups have strengthened their exchanges with each other, promoted the integration of various ethnic groups, and expanded the scope of calligraphy cultural influence.
In addition, scholars of various ethnic groups devoted themselves to the Xi study of calligraphy in order to establish a connection with the Han scholars, show common cultural preferences, and build a literati social circle similar to their own.
2. Representative calligraphers of ethnic minorities in the Yuan Dynasty
and his calligraphy achievements
The Yuan Dynasty opened up a new field for the development of the art of calligraphy. Under the profound influence of Han culture, the scholars of the Yuan Dynasty ethnic minorities gradually grew up in interaction with their own ethnic culture. In the Yuan Dynasty, there were many famous scholars in the world of calligraphy, and there was no shortage of people in the generation. The development of calligraphy culture in the Yuan Dynasty has gone through a long process, and the author divides it into two periods, the first and the last, and selects the most important ones to discuss.
(1) Minority calligraphers in the early Yuan Dynasty
At the beginning of the 13th century, when the Mongol Khanate was established, in order to achieve national unification, there were frequent wars, and the development of calligraphy as one of the cultural arts was seriously affected. It was not until Yuan Shizu destroyed the Southern Song Dynasty that this situation was changed. With the establishment of the Yuan regime in 1271 and the stability of people's lives, social and cultural undertakings, including the art of calligraphy, were gradually restored and developed, and became more and more vigorous. The representative calligraphers in the early Yuan Dynasty mainly include Yelu Chucai, Lian Xigong, Gao Kegong, Guanyunshi, etc., among which Yelu Chucai has the greatest influence and can best represent the calligraphy style in the north of the early Yuan Dynasty.
Yelu Chucai (1190-1244), known as Jinqing, known as Zhanran Jushi, Khitan people, descendant of the Liao clan, and the founding minister of the Yuan Dynasty, was a representative of Mongolia's implementation of Han Confucian culture. He was familiar with Confucian classics, proficient in astronomy and mathematics, and was the most accomplished calligrapher before Zhao Mengfu in the Yuan Dynasty. His calligraphy achievements are mainly reflected in the ink "Sending Liu Man Poems" (fig. 1) made in his later years. This volume was written in 1240, when the author was 51 years old, "this cover was made in his later years, and the calligraphy and painting are particularly vigorous, as if they were made of cast iron." Fortitude, until old age". The whole article is majestic, with the pen vigorous and upright, subtle and ancient, the knot in the palace is tightened, and Huang Tingjian's unrestrained attitude is taken, which is quite a style of Yan muscles and willow bones, which can be called a model of the northern "Heshuo Weiqi" style of calligraphy.
Fig.1 Yelu Chucai, "Sending Liu Man", poem volume 368cm×283.8cm
Collection of the Princeton University Museum of Art, USA.
Lian Xigong, year of birth and death unknown, the word Duanfu, the name Xianglin, the younger brother of the politician Lian Xixian in the early Yuan Dynasty, the Wu'er clan, the title of Jiguo Gong, and the official to the Zhaowenguan University Scholar. A famous calligrapher and connoisseur of calligraphy and painting in the Yuan Dynasty. Calligraphy by Zhao Mengfu, Xian Yushu and other famous influences, get the Wei Jin Dynasty ancient health and charming style, the style of calligraphy is vigorous and vigorous, especially good at big characters.
Gao Kegong (1248-1310), the name Yanjing, Fangshan, Hui. A native of Dadu (present-day Beijing). He has a deep friendship with Zhao Mengfu. Now in the collection of the Palace Museum in Beijing, the "Spring Clouds and Dawn Haze" scroll on paper, on which there is Gao Kegong small block inscription 25 lines, 21 words. The style is elegant and elegant, beautiful and considerable.
Guan Yunshi (1286-1324), whose real name is Xiaoyunshi Haiya, is called Sour Zhai, and is afraid of Wu'er clan. The Han culture is profound, and his life is light on wealth and fame. He is good at poetry and books, and he is good at grass, and he is a family of his own. His representative works include "Xingshu Zhongzhou Post", "Jackdaw Scroll of the Basong People" and "Tao Yuanming's Return to the Speech" inkblot. "Xingshu Zhongzhou Post" is now in the Shanghai Museum, this post is open with momentum, the line is bold and strong, sparse and dense, creating a precedent for the Ming Dynasty's "Shangshi" style of calligraphy. Guan Yunshi had a deep relationship with Zhao Mengfu, and his calligraphy was greatly influenced by the latter, but his calligraphy was unconventional and wanted to jump out of Zhao Shu's flattering style. Judging from the self-written poems in his book "The Jackdaw Picture Scroll of the Basong Dynasty", the dot painting is not formal, and the body is plump, which makes the turn indulgent and uninhibited, which looks strange.
(2) Ethnic minority calligraphers in the late Yuan Dynasty
The minority calligraphers in the late Yuan Dynasty mainly included Zhao Shiyan, Lu Chong, Kang Li, Sadura, Yu Que, Tai Buhua, Yahu, Yu Xian, Sheng Ximing, etc.
Zhao Shiyan (1260-1336), the character Zijing, Yonggu nationality. Feng Lu Guogong, during his tenure there was good governance. According to the "History of Yuan", Zhao Shiyan was gifted and intelligent, liked to read Confucian classics at an early age, and entered the Privy Council Imperial History Platform to Xi official politics in his early years, and was summoned by Yuan Shizu. Representative works include "Bahuadu Temple Tablet" and "Dongyue Temple Zhaode Hall Tablet", whose books are greatly influenced by Su Dongpo and Yan Zhenqing, plump and lively, and quite pleasant and self-satisfied.
Lu Chong (1279-1338), known as Zichong, was a native of Dengzhou (now Dengzhou City, Nanyang, Henan), and a Jurchen ethnic group. Known for his erudition, his books were deeply influenced by Xu Hao in the Tang Dynasty and were valued by the people of the time. He wrote a large number of epitaphs with inscriptions. The biography of the "History of the Yuan" records that he had been enshrined in the edict when he was in Shangdu. Lu Chong's hand-me-down works include the inkblot of "A Poem of the Songfeng Pavilion of Bahuang Tingjian" (picture 2). His writing is strong, the structure is open, and it is full of momentum and unique style.
Fig.2 A poem by Lu Chong and Huang Tingjian's "Songfeng Pavilion".
Size unknown Collection of the National Palace Museum, Taipei.
Kangli 巎 (1295-1345), Zizi Mountain, No. Zhengzhai, Shusuo, Zhen Wenzhong, a native of Kangli in the Western Regions. Kang Li has been deeply influenced by Han culture since he was a child, and he is well-read. He has been loyal and honest all his life, and has won the respect of the emperor. He personally participated in the formulation of the cultural system of the Yuan Dynasty, paid attention to the national fortune and people's livelihood, and made great contributions to the protection and promotion of the development of Han culture, the acceleration of the sinicization of Mongolian rulers, and the promotion of ethnic cultural exchanges. "The History of Books" called him: "Elegant and elegant, knowledgeable and knowledgeable, well-versed in history and deliberate." "Kang Li has a book title, true, line, cursive are good:" Zheng calligrapher Yu Yongxing, grass master Zhong Taifu, Wang Youjun, the strokes are charming, the turn is round, and the name is important for a while. The commentator said that the dynasty was famous for the world, and since the Duke of Zhao Wei, he has also been a prince. Because of his outstanding achievements in calligraphy, Kang Li's calligraphy works were collected in the Kuizhang Pavilion of the Yuan Dynasty. Judging from the hand-me-down works, his books are chic, the pen is followed by the law, robust and novel, and has a pure and refined charm;It not only has the pride of the northwest nation, but also has the spirit of the times of the Jin and Tang dynasties. He was the only minority calligrapher in the history of Chinese calligraphy who could compete with Zhao Mengfu, and was known as "Southern Zhao and Northern Calligraphy". His works include "The Legend of the Dragon" (collected by the Palace Museum in Beijing), "Cursive Dictionary of the Fisherman" (collected by the Shanghai Museum), and "The Scroll of Yan Lu's Gongshu Zhang Xu's Brushwork" (collected by the Palace Museum in Beijing). Among them, "Yan Lu's Gongshu Zhang Xu's Brushwork Record" is a meticulous masterpiece, the knot is stretched, the grass is intertwined, and the pen is brokenThe chapter is dense and compact, and the competition is appropriate, like the wind and clouds, and it is integrated, marking the high maturity of its calligraphy art. Kang Li's regular script to "Ouyang Xun Huadu Temple Tablet" achievement is the highest, the penmanship is fine, the knot is strict, the strokes are strong and stretched, the muscles and bones of Yu Yongxing, and the Junxiu of the king's order. The inscription "Yidu protects the Gaochang Wang Shixun Monument", the positive type, the existing Gansu Wuwei Cultural Management Office. Kang Li is also a calligraphy educator, and among the best, Rao Jie, Wei Su is the best. Kang Li had a great influence on the book world in the late Yuan and early Ming dynasties, and Song Lian, Song Ke, Xie Jin, and even Wen Zhengming all drew nourishment from his books.
Sadula, the year of birth and death is unknown, the word Tianxi, the number is Zhizhai, and the Hui tribe. Famous poet, calligrapher and painter of the Yuan Dynasty. Good regular script. Dengjin Shidi, died in middle age, and there is a "Yanmen Collection" handed down. The Palace Museum in Beijing has two paintings by Sadura: "Plum Sparrow" ink pen on silk and "Yanling Diaoyutai Picture" ink pen on paper. "Plum Sparrow Picture" has a poem with its small block inscription, 3 lines and 40 words, the dot painting is upright, and the spirit is plump. His style was greatly influenced by Zhao Mengfu, and at the same time, it also had the penmanship of the Jin and Tang dynasties. At the top of the "Yanling Diaoyutai Map" there is a poem in cursive script written by Sadula, with a total of 12 lines and 125 words. The momentum is magnificent, the pen is solid, and there is a slight charm of chapter grass. The uneven interspersed strokes and the sparse size of the characters show its profound artistic accomplishment, which is precious.
Yu Que (1303-1358), the character Tingxin, the color of the Tang Wushi, the Zhong Xuan, Hexi Wuwei (now Gansu) people. A loyal minister of the Yuan Dynasty. Poems and books. It has a great influence in the literary and book worlds. Its books are in the Jin and Tang Dynasties. The hand-me-down ink has been handed down to the "History Museum Post" and "Basu Shi Ledi Post". "History Museum Post" is a line of books, with a refreshing and neat pen, with a side to take Yan, the structure is charming and stable, the strokes are strong, and there is the charm of Mishu and Zhao Shu. His dot painting is exquisite, the brushstrokes are light and heavy, and the strokes are agile and imaginary, showing a high artistic attainment. "Basu Shi Ledi Ti" is random dot painting, the brush is sloppy, and inadvertently reveals the free and easy natural wind god.
Fig.3 Tai Buhua Liu Yuxi's "Burrow Inscription" (detail).
36.9cm×113.5cm Collection of the Palace Museum, Beijing.
Tai Buhua (1304-1352), the word is good, Mongolian, the original name is Dapuhua, "Tai Buhua" is given by Yuan Wenzong. Feng Wei Guogong, Zhen Zhongjie. Because he lives in Mt. Shirano, he is known as Mr. Shirano. Tai Buhua was the champion and the first, and participated in the compilation of the history of the Song, Liao and Jin. Ouyang Xun, the official book, has his own physique. He is especially good at sealing, warm and vigorous. "Often with the Han inscription of the current generation of the monument, extremely high and ancient, beyond the reach of others. The hand-me-down inkblots include "Liu Yuxi's Burrow Inscription" (Fig. 3), "Baxian Yu Yu Yu Yu Shi Zhen", "Self-written Seven Laws Poems to Yu Pavilion Lao" and so on. "Baxian Yu Yu Yu Yu Shi Zhen", regular script, the strokes are stretched, the structure is rigorous, the posture is charming, and the spirit is flying. "Self-written Seven Laws of Poetry Sent to Yu Pavilion Lao" is a cursive script, the strokes are light and smart, the meaning is followed, and the beginning and end of the transition are explained clearly, and it is very charming. "Liu Yuxi's Burrow Inscription", ink book, seal script, the strokes are stretched and strong, the line is skillful and round, the structure is strict and beautiful, and the lines are strong and fluent. The seal book tablet is engraved with the "Wang Martyr's Ancestral Monument", this tablet pen force is fine and strong, smooth and free, the structure is fine and neat and neat without the suspicion of the flat plate, directly chasing the Qin and Han Dynasty seal law, opening the precedent of the seal book of the Qing Dynasty. Tai Buhua seal book "Xu Xuan, Zhang You, a little bit of their own law, their own family". Tai Buhua changed his method slightly, and wrote the seal script "with the Chinese inscription lettering", which showed its innovative spirit. Tai Buhua Han culture is profound, proficient in paleography, "Learning Ancient Continuation" is his research and falsification of the work. Its poetry and classics are beautiful, and the style of the book reflects each other, which can be called a double masterpiece.
Boyan does not spend a pound (?).—1359), that is, Boyan does not flower, the word Cangyan, and the Wuer tribe. Fresh in the cardinal's nephew. The painting is good, and the cursive script is like his uncle's. Calligraphy is seen in the original collection of the Forbidden City in Beijing, "Ancient Gully Cloud Pine Map", ink on paper, two lines of calligraphy on the picture "Ancient Gully Cloud Pine, Cangyan Lay Boyan does not flower" for its title, the style of calligraphy is vigorous, similar to Mi Fu, can be called the Yuan Dynasty calligraphy.
Yahu, the year of birth and death is unknown, the word is Zhengqing, and she is also a Wen person. The original name was Yagu, and the imperial pen of Yuan Wenzong was changed to Yahu. Grant the Kuizhang Pavilion Reference. Yahu Gong is good at poetry and books, and calligraphy advocates "Tuogu reform". His poems are known for their "solemn sentences and magnificent words". The calligraphy work can only be seen in the three lines of regular script in the poem "Badongyuan Xiajing Mountain Pass to be Crossed" (Fig. 4), which is slender in style, loose in strokes, fine in structure, beautiful and vigorous, and full of grace. Its calligraphers are Ouyang Xun, Yellow Valley and so on.
Fig.4 Yahu Badongyuan's poem "Xiajing Mountain Pass to be Crossed".
Size unknown Collection of Liaoning Provincial Museum.
Yu Xian (1309—?).The word is easy, the number is Heshuo Waishi, and he is a member of the Gelulu Department of the Western Regions in the Yuan Dynasty. Poetry and books are all work, and his poems are famous in the literary circle at the end of the Yuan Dynasty. The calligraphy attainments of Yuxian are very high, and the surviving ink has "Nancheng Yonggu Poetry Volume", "Title Zhao Yong Bullet Riding Map", etc., all of which are small regular scripts. "Nancheng Yonggu Poetry Scroll", the handwriting is sparse, the strokes are strong, and the neatness is elegant. "Title Zhao Yong Bullet Riding Map", the book style is full of Zhao Mengfu, the dot painting is exquisite, the pen is strong, and it is a rare virtuous and authentic work in the world.
Sheng Ximing, the year of birth and death is unknown, and he is a Xian person, or a turtle people. "Knowledgeable and talented, skilled and ink, and able to read the Six Kingdoms. He is the author of eight volumes of "The Examination of Law Calligraphy", which describes in detail the origins of calligraphy, penmanship, structure, seals, etc. The book played an important role in promoting the further sinicization of the Mongolian court. Sheng Ximing's calligraphy is Zhao Mengfu, the regular script is delicate and smart, and Zhao Shu is free and elegant. The hand-me-down ink is only found in the "Three Sections of the Miscellaneous Books of Bazhao Mengfu".
In addition, the minority calligraphers of the Yuan Dynasty also included Qingtong, Ma Zuchang, Hudu Er'er, Duo Erzhi, Dazhi Timur, Mu Zhongyi, Sai Jingchu, Ma Jiugao, Ma Jiuxiao brothers, etc. Qingtong "good big character";Ma Jiugao and his younger brother Ma Jiuxiao "can seal the book";Knowing Timur, "the big characters learn to interpret Puguang, and the small characters also have the power of the bones";Mu Zhongyi is "especially good at calligraphy";Sai Jingchu learned Kang Li Xun calligraphy since childhood, "extremely wonderful, Wenzhong Gong deeply appreciated". However, the ink of these calligraphers is rare.
3. The characteristics of the style of minority calligraphers in the Yuan Dynasty
(1) Deeply influenced by Zhao Ti, the style of calligraphy is mainly characterized by mellow and beautiful, free and robust
Zhao Mengfu was the first calligrapher in the Yuan Dynasty to open up the atmosphere. Almost all of the minority calligraphers of the Yuan Dynasty were influenced by Zhao's calligraphy. Specifically, the minority calligraphers in the early Yuan Dynasty were influenced by Zhao Mengfu in the course of their direct contact with him, while the calligraphers in the later period were influenced by Zhao Mengfu because of their admiration for his calligraphy. In the early period, there were Gao Kegong, Lian Xigong, Sa Dura, etc., and in the later period, there were Yu Xian, Yu Que, Yahu, Tai Buhua, Sheng Ximing, etc. Judging from the hand-me-down calligraphy, their calligraphy is mainly characterized by roundness and beauty, but some characteristics and ethnic flavors of the traditional culture of various ethnic groups are still retained, so sometimes they show the characteristics of a free and robust style. For example, Yu Que's "History Museum Post", Yahu's "Badongyuan Xiajing Mountain Pass to be Crossed Poem" and so on.
(2) Bold and vigorous, unique and unique, with a "great style of Heshuo".
This style of calligraphy is most typical of imperial calligraphy and Kang Li calligraphy. Yuan Yingzong's calligraphy "is strong and indulgent, and the spirit of fortitude and heroism comes from the end of the pen". Wenzong Yushu Temple's forehead "Nanshan Temple" three big characters are magnificent, the pen is strong. The boldness of the northern peoples is pervasive. Kang Li's regular script has the muscles and bones of Yu Shinan, and takes the Junxiu of Wang Xian;The cursive calligraphers Zhong Xuan and Wang Xizhi can keep the right and bring forth the new, and find another way. Its robust and novel book style not only has the majestic beauty of the Northwest Nation's Changhong crossing the sea and "the pride of the wind and sand Qiu Jian", but also does not lose the spirit of the times of the Jin and Tang dynasties. It can be said that the calligraphy of the emperors of the Yuan Dynasty and Kang Li is the product of the fusion and sublimation of the bold and robust national character and the traditional calligraphy art of the Central Plains.
In a word, the free-spirited, elegant, bold and robust style of calligraphy of ethnic minorities is a reflection of the peculiar temperament of calligraphers of various ethnic groups. The calligraphers of the ethnic minorities in Northwest China brought vitality to the calligraphy circle of the Yuan Dynasty and enriched the content and types of calligraphy creation. Under the background of the integration of ethnic groups in the Yuan Dynasty, calligraphers of various nationalities injected masculine beauty, heroic and magnificent atmosphere and strong national color into the calligraphy of the Yuan Dynasty with their ingenuity, bringing a different aesthetic visual effect to the Chinese calligraphy culture, thus becoming a brilliant landscape in the history of Chinese calligraphy, which should be considered and concerned by future generations.
Fourth, the Yuan Dynasty minority calligraphersRight
Contribution and influence of later generations
The rapid development of calligraphy culture in the Yuan Dynasty is inseparable from the hard work of ethnic minority calligraphers. The minority calligraphers of the Yuan Dynasty and the Han calligraphers jointly created the brilliant calligraphy culture of the Yuan Dynasty with their ingenuity and talent, which had a far-reaching impact on later generations. This influence can be reflected in the calligraphy of Kang Li Xun and Tai Buhua.
Kang Li has been influenced by advanced Han culture since childhood, and has a strong Han cultural complex. This sentiment is reflected in his notion of calligraphy. Its greatest contribution is mainly manifested in the chapter grass.
(1) Give calligraphy new connotations and characteristics
Zhao Mengfu's calligraphy retro trend brought a new life to the "Zhangcao" calligraphy. On the basis of Zhao, Kang Li boldly fused Zhangcao and Jincao, creating a new situation in the history of Chinese cursive. The retro style of calligraphy that emerged in the Yuan Dynasty was a correction of the shortcomings of the Southern Song Dynasty Shangyi calligraphy style, but this quasi-ancient calligraphy style lacked an independent and innovative spirit and distinctive personality characteristics. In this case, Kang Li is able to stand out and not follow the crowd, and his original spirit is particularly valuable. He fused the chapter grass and the present grass to enhance the expressiveness and artistic charm of cursive, and increased the interest and connotation of cursive. His work "Yan Lu Gongshu Zhang Xu's Brushwork Scroll" achieves a simple and beautiful artistic effect through the movement of the brush, the staggered size of the characters, and the natural interspersing between the characters, which is a good expression of this theme. Its great charm attracted a group of famous calligraphy masters to learn and Xi, such as Xian Yushu, Wu Zhen, Deng Wenyuan, ** Run, etc., thus adding a new era atmosphere to the Yuan Dynasty book circle and injecting vitality into the history of Chinese calligraphy.
(2) It laid the tone of the style of calligraphy in the late Yuan Dynasty and early Ming Dynasty
Kang Li traveled all his life, his disciples were widely distributed, and his calligraphy had a great influence at that time. Rao Jie and Wei Su are the best among them. Rao Jie's cursive writing with stubborn meaning is the result of the influence of Kang Li's calligraphy style. Wei Su's cursive-like writing like "drawing a knife and cutting off water", and the decisiveness and composure when he put down the pen, can also be found in Kang Li's works. The influence of Kangli's calligraphy style broke through ethnic barriers and geographical boundaries, forming the tone of the calligraphy style in the late Yuan Dynasty and early Ming Dynasty. Calligraphers such as Song Lian, Song Ke, Xie Jin, and later Wen Zhengming in the Ming Dynasty all absorbed nutrients from their books to varying degrees. On the basis of inheriting the Kangli style of calligraphy, Song Ke skillfully blended Zhangcao, Jincao, and ** to form a unique face. Song Ke's "Urgent Chapter" is quaint and vigorous, and it is very Kangli's calligraphy style. The imagery of Wen Zhengming's cursive writing is similar to that of Kang Li's calligraphy. The brilliance of the book world in the early Ming Dynasty was inseparable from the hard work of Rao Jie and Wei Su. Kang Li's calligraphy is also used in today's calligraphy world. The cursive writing of the famous modern calligrapher Gao Ershi is in the same vein as Kang Li's writing, as can be seen in his 1972 work "The Book of Zhang Shizhao".
Tai Buhua is also a scholar with profound Han culture. In terms of calligraphy, he is especially good at seals, and the style of calligraphy is warm and vigorous, and he chases the Qin and Han seals. Tai Buhua "often inscribed the inscription of the modern generation with the inscription of the Han Dynasty, which is extremely high and ancient, and is beyond the reach of others", which embodies an extremely valuable spirit of innovation. In addition, the seal script of Tai Buhua, the pen is fine and strong, the style of writing is smooth and free, the structure is tight and neat and not flat, which is the precedent of the seal script of the Qing Dynasty and affects the trend of the style of stele study in the Qing Dynasty.
5. Aftermath
The wonderful appearance of minority calligraphers in the Yuan Dynasty broke the situation of Han calligraphy dominating the world. The Yuan Dynasty was an era of fierce collision and integration of multi-ethnic cultures, and after the unprecedented exchange of various ethnic cultures in the Yuan Dynasty, the scope of the influence of calligraphy art was further expanded. Under the background of the multicultural era of the Yuan Dynasty, calligraphers of different nationalities have achieved fruitful results in the hundred gardens of calligraphy art with their hard work, and jointly promoted the prosperity of calligraphy culture in the Yuan Dynasty. The remarkable achievements of calligraphy in the Yuan Dynasty have given important enlightenment to today's people: the culture of a multi-ethnic country can only develop better through integration and complementarity, and only by insisting on the opening up and mutual exchange of culture can we promote the overall prosperity of art.