Before talking about the evolution of calligraphy, let's look at such a story in the Qing Dynasty. Ruan Yuan of the Qing Dynasty was a student of the great calligrapher Liu Yong. Nguyen advocated the "Southern and Northern Tablet Theory" (Southern and Northern Calligraphy Theory). He studied the Chinese calligraphy school since the Six Dynasties and believed that there were two different roots: one was the books handed down by the two kings; One is a variety of tablets. The Eastern Jin Dynasty moved south, and the book of the line was very popular, and it became the later theology; Most of the stone inscriptions handed down from the Wei Dynasty in the Northern Dynasties are stone inscriptions. This school of thought declined when Theology was popular in the Southern Dynasties. He advocated the rise of the North Monument to help the poor of learning. He thought that his teacher Liu Yong was only confined to the study of Ti, so he wrote a letter to persuade the teacher to participate in the Beipai Tablet Study. But the teacher replied to his letter, not saying a word about it, only saying that the ham where you are an official is excellent, and the old man loves to eat it, so he can often send it to Beijing!
The story is very flavorful. It can be seen from this story: 1. The teacher disdains to answer the student's suggestion, maybe he thinks that the student's opinion is not right at all, and maybe he has not figured out the problem yet. Second, the student's view has touched on the trend of the evolution of calligraphy, including the epochality of calligraphy, but his view is obviously from the perspective of glyphs. The tablet glyphs handed down in the Northern Dynasties are all cut square pens, which are very different from the gestures of the line book flowing and rounding in the southern post. He certainly had to think that these were two genres with different origins. In view of the phenomenon that the gesture of the post-Song Dynasty has become weaker and weaker, he advocated learning the North Tablet to save the "Epoch" of the Post-Study, which is also very natural. 3. Because Nguyen was limited to the scope of the materials he had seen, and he only looked at the problem from the glyphs and could not look at the penmanship, although he touched on the contemporary nature of calligraphy, he failed to grasp the main points. This is what distinguishes us from Nguyen's and therefore cannot agree with his argument of the North-South division.
When the Ruan clan made his argument, it was the time when the tablets of the Six Dynasties were constantly unearthed. And the authentic works of the Six Dynasties are almost as rare as the morning star. Not only that, but the authentic works since the Tang and Song dynasties are rarely seen. The authentic works handed down by collectors such as Zhan Jingfeng, Huaxia, An Yizhou, Liang Qingbiao, etc., are almost all returned to the Qing Dynasty. Private individuals occasionally have one or two authentic works, and often refuse to tell them in their lives, let alone take them out to show others. A part of the authentic relics hidden in the Qing Inner Mansion, although Qianlong was engraved into the "Sanxi Hall Post", but this post is an example of rewarding princes and ministers as a special favor. It is not easy to see the scholar's house, let alone the authentic handiwork. Therefore, Wu Rongguang got the seven lines of the Tang Dynasty scriptures and engraved them into the "Yunqing Pavilion Post", which was already a strange treasure. As long as ordinary calligraphers see Tang writing, they think it is Zhong Shaojing's authentic work! In this case, Nguyen can only talk about calligraphy according to the glyphs of the rubbing, which is extremely natural.
However, the biggest difference between the original handwriting and the rubbing is that the real handwriting can see the brushwork, while the rubbing cannot, at least not easily. Compared with the original handwriting, the engraving will inevitably have oversses and deficiencies. After being extended by paper and ink, it will be even more distorted. The Song Dynasty Mi Fu on the book is to advocate to see the real handiwork. He said, "Stone carvings cannot be learned, they must be authentic and interesting." The so-called "fun" here means that only in the authentic handwriting can you see the ups and downs and turns of the pen. The Ruan family has not been able to see many authentic works since the Six Dynasties, and only relies on the ink rubbing, so they can't get it.
After Ruan, the Dunhuang stone chamber was opened, and a large number of scriptures and other ink blots were found in the Six Dynasties, Sui, Tang, Five Dynasties, Song and other eras. At present, a large number of authentic works of the Qing Imperial Palace have also been seen with the people, and the authentic works of collectors in the southeast have also emerged one after another. We are fortunate to have a more correct understanding than Nguyen's when we look at it. We know that in these countless authentic works, it shows that there is a sequence of times, and there are all regions of north and south, but the use of the pen is consistent. The Northern Wei Dynasty, as well as the Eastern and Western Wei Dynasty, and even the Northern Qi and Northern Zhou Dynasty scriptures, have no different ups and downs from the Jin people's Jianza, although the glyphs are somewhat different. As for the Sui and Tang dynasties, many calligraphers such as Yu, Ou, and Chu still retain the style of the Six Dynasties, and their glyphs are similar to the tablet plates. And these people all claim to be from the Nanti school of Wang Youjun. That is, such as the "Longzang Temple Tablet", not only its glyph is very close to Chu Suiliang, but its pen is also completely consistent with Yu Chu. However, if you focus on its glyphs, it is better to be close to the Six Dynasties Monument, and its pen is also consistent with the Six Dynasties scriptures. That is, in terms of Chu Suiliang's "Master Meng's Tablet", the glyph is closest to the Six Dynasties Tablet. The "Fangliang Gong Tablet" and "The Holy Order of the Wild Goose Pagoda" written by him still retain the frame between the Han monuments in the glyphs, but its pen is consistent with that of the Jin people. This proves that the theory of "the south post and the north monument" is forcibly divided, unfounded, and unnecessary. We should see the continuity of the pen from generation to generation, the epochal nature of the time from the knot, and the personality of the calligrapher.
The characteristics of our calligraphy are expressed in the glyphs, but there are exceptions. The oldest is the oracle bone script of the Yin Dynasty. The best thing is that this kind of writing can still be seen in real person, and you can see the ups and downs of the pen with it. This kind of text stroke is relatively simple, and the glyph is probably stretched up and down. The so-called seal character knots are like this. This is the case with this kind of glyph, as well as a type of Yi ware that has developed along this source, such as "Cao Ding" and "Da Yu Ding". Secondly, it gradually evolved into a pure Zongzhou style, such as "Mao Gongding", "Song Ding", "Shi Song Ding", etc., the calligraphy and painting are round and dignified and have the meaning of the ocean. Third, it is Jing Chu's extensive calligraphy. This is a branch of the Zongzhou Dynasty at the same time, such as the most famous Sanshi Pan can be a representative work. Since then, it has gradually evolved into the fourth school of calligraphy. At this time, the glyphs gradually changed, which gave birth to the germ of calligraphy during the later Qin Empire. For example, "The White Plate of Yu Jizi" and "Stone Drum", the former contains more of the customs of the Zhou Dynasty, while the latter contains more of the customs of the Qin Dynasty. These four kinds of seal scripts all belong to the so-called big seal, although the strokes are different in fat and thin, and the length and width of the glyphs are also inconsistent, but they all significantly show the characteristics of the Zhou generation, generally speaking, they are dignified and lively, and the glyphs are free and vigorous. After that, it entered the era of the Qin Empire. Qin Shi Seal Book, Li Si and others have made great contributions to reform. The characteristics of the glyph are generally more narrow and neat, and the number is a small seal, which can be used as the fifth. During this period, we can take "Mount Tai Carved Stone" and "Langyutai Carved Stone" as examples. However, during this period, there was a kind of edict, tile volume and Qin power, but the glyph tended to be horizontal. This was a simple system at that time, and it had already given birth to the germ of Han Li.
Sixth, it is the official book of the Han Dynasty. The official script of the Han Dynasty inherited the seal script of the simple system of the Qin period, so it was officially recognized and improved by using this system. Due to the long period of the Han Empire, the circulation of Lishu has been long and wide, so the Han Lishu has a variety of shapes and types. In terms of calligraphy, it is a great abyss. In summary, its characteristics are the development of the glyph to the left and right, strong and square, unbridled and elegant. The strokes rise and fall, the light and heavy are distinct, and the beauty of many changes. In the recently discovered large number of Han wooden tablets and the cinnabar inscriptions on the unearthed pottery, you can see the authentic handiwork of the Han people refreshingly.
The seventh is the regular script and weed from Wei to Jin. It turns out that both cursive and regular script "evolved" from the official script of the Qin and Han dynasties. When it came to the Wei and Jin dynasties, it was considered mature. Therefore, it was a characteristic of the times, and it influenced later generations, and it is still developing today. This is the father and son of the "two kings", and its power is still there. The characteristic of this era is the method of using the pen, which has become more and more clear and certain due to the maturity of regular script. Although the method of using the pen developed in accordance with the natural trend before this, and although many special calligraphers emerged prominently among them, the clear division of labor of the so-called "Eight Laws" began in this period. Although this doctrine gradually developed to the Sui monk Zhiyong, it was complete, but it could not be attributed to the invention of Zhiyong alone, but the old theory of the Wei and Jin dynasties, which developed to Chen Sui and Dabei. This period was the period when Chinese calligraphy was established. Due to the establishment of grass and Kai, the experience of writing was accumulated, and the doctrine of "Eight Laws" took root. The standard of criticism of calligraphy, which had to be established and consolidated due to the establishment of the "Eight Laws" doctrine, has been influenced by this standard to this day. Zhang Zhi and Zhong Xuan's ink is no longer visible. Before the "two kings", the only ink that still exists today is the "Pingfu Post" of Lu Ji of the Western Jin Dynasty. For this post, although there are still some people who disagree, but in terms of its circulation, as well as the examination of the pen glyphs, it is the authentic work of the "two kings" before, and there is no doubt. This post is a full expression of the ancient and beautiful calligraphy characteristics.
In addition, in the late Wei and Jin dynasties, the Qin seal calligraphy was popularized, represented by Wei Zhengshi's "Three-Body Stone Classic". In this stone scripture, we can see that although the small seal comes from the Qin seal, it is different from the Qin seal. That kind of vigorous and round pen and glyph really has the meaning of the new era. Seal book all the way, since then only Li Yangbing of the Tang Dynasty is known as the direct Li Si. The seal book of the Song Dynasty has lost its ancient meaning and is close to the line. Although Zhao Mengfu of the Yuan Dynasty tried to be retro, he eventually followed this path. The Ming Dynasty's Li Dongyang seal book, although it enjoyed a good reputation and was taught, could not be greatly revitalized. In the middle of the Qing Dynasty, Deng Shiru got up, and the seal book was full of sound and light. But Deng Shu is indeed a new school of revolution with retro. He used a sheep's hair pen to write large and small seals calmly and comfortably, which is really a great achievement, and it should be discussed separately. As far as the seal script of the Erli tradition is concerned, it can be said that it has been in decline for more than 1,000 years.
It represents the era from the Six Dynasties to the Sui Dynasty, with the inscriptions and scriptures of the Six Dynasties being the most significant. The calligraphy of this school of calligraphy adheres to the principles of the Eight Laws almost identically, and expresses the characteristics of each stroke in an unambiguous manner. He was so skillful with his pen that he was almost as good as a strictly trained army, and he was reorganized in the army. Some of the scriptures and some stone carvings, although there is a slight vulgar tendency, but the rules are not lost, and they are still the true transmission of calligraphy. The various glyphs and styles of this era are thousands of households. Later, the great development of the regular script of the Tang Dynasty took root on this fertile base. Let's try to review the scriptures written in the Tang Dynasty, its essence is brilliant, surpassing the Six Dynasties, but every bit of painting is in the vein of the Six Dynasties. We often think that the calligraphy of the Tang Dynasty inherited the Six Dynasties, and it was more than enough, but it was not enough. The Middle Meridian was annihilated, and after the Song and Yuan dynasties, it was unheard of. Since Shengyuan, Chunhua and other ink extension trips, Lingyi is extremely extreme, so Ruan Yuan has made such a set of discussions. After the Dunhuang Apocalypse, we have a great wealth of information, and the real renovation is still in the future.
In the Tang Dynasty Law Book, it can be roughly divided into two stages. The former stage can be represented by Yu Ou, Chu Xue and others. On the one hand, they are the good successors of the Six Dynasties Law Book, and on the other hand, they are the creators of the Tang Dynasty Law Book. It is characterized by strict and exquisite, and there are many patterns. The latter stage can be represented by Yan Zhenqing and Liu Gongquan. They were completely proficient in Yu Chu's various techniques, and knew that the origin of this technique was really from the Han Li and the Right Army, so they would change and become a new look of themselves. They are both good at inheritance and pioneering. As for cursive writing, in addition to Yan Liu, Sun Guoting, Zhang Xu, Huaisu and others compete for the show, each with its own merits, and another realm.
Yang Ningshi is a person of the five generations, but his calligraphy and Li Jianzhong opened the calligraphy of the Song generation. The Song people mostly studied books based on Yan Zhenqing and Yang Ningshi, and from these two families they pursued the right army. It was only in the four houses of Su Huang Mi and Cai that it officially became the situation of calligraphy in the Zhao and Song dynasties. Generally speaking, the calligraphy of the Song people is more than able to understand the ancient meaning, and do not open a new picture. Among them, Huang Tingjian deeply understands that the use of pen is different from Su Shi's brushwork, but its artistic conception is novel and similar to Su. Mi Fu's glyph galloping changes, and Cai Xiang calmly and uprightly different, but its concentration on learning ancient is very similar. The first two can be called the new school, and the latter two can be called the old school.
The rise of Zhao Mengfu in the Yuan Dynasty put an unprecedented retro integration in the history of calligraphy. The calligraphy of the Yuan Dynasty was almost all under his shadow. Even from the second generation of the Ming and Qing dynasties to the present, all those who are interested in learning books, the first ancient penmanship all get the law from him. Strictly speaking, since Zhao's death, it is not too much to say that calligraphy has been lost.
When calligraphy arrived in the Ming Dynasty, the first half of the period can be said to be a simulated period. If there is a feature in this period, it can only be simulated as a feature; During this period, there were many famous people, but they all lacked the ability to create. Only at the end of the period there was a Dong Qichang, which can be regarded as the end of the Ming generation. Under the pressure of the simulation of previous dynasties, Dong has unique talents and inherits the countercurrent. He was able to come up with something new and start his own family to counter the analogue of this generation. Since then, the calligraphy until the beginning of the Qing Dynasty was almost all led by his style. His glyphs and lines are different from those of the ancients, but the use of the pen is the same. Although there are weaknesses from time to time, they are generally not bad.
Qing calligraphy was completely ruled by the Dong family in the early days. After Qianjia, the so-called Taiwan Pavilion style became more popular. Since there was no penmanship at all, true calligraphy died. This trend intensified before the liberation and became an extremely barren and chaotic phenomenon. But on the other hand, due to the prevalence of sheep's hair, the unearthing of ancient inscriptions, since Deng Shiru, another world of sheep's hair calligraphy has been opened. This sheep's hair world, although most of them violate the penmanship, but it also has a new realm, but this realm is not very deep and far-reaching, and the glyphs are more complex.
Generally speaking, the characteristics of each era are slightly as mentioned above. Among them, we want to emphasize that since Wang Xizhi became a new school of independent law, the tradition of Chinese calligraphy has been inseparable from him. Yu Ou, Chu Xue, the biggest calligrapher in the Tang Taizong period, all obtained the law from the Wang family. From Yan Liu to the Song family, they are all based on the Wang family. From Zhao Mengfu to Dong Qichang, it is clear that they have the ambition to inherit the Wang family. Even since the Qing Dynasty, calligraphy has declined, but all those who learn calligraphy have all arched Wang's family as Beichen. Therefore, despite the different characteristics of each era, there is an invisible thread that connects it and becomes a consistent line. This is one of the main points that we should be aware of.