The evolution of the book body is a kind of compound vertical alienation movement, in the evolution of the ancient body book to the modern body book, that is, the deconstruction of the seal body, the li, the grass, the line, the kai from each other, entangled to gradually separate and independent, about a thousand years.
Italics are a later type of book that became independent. When the ancient Li of the Warring States developed into the late Western Han Dynasty, the middle and late Eastern Han Dynasty modified it into a lishu, including its sloppy writing, or caoli and licao, which was full of many elements of calligraphy. In the middle of the Western Han Dynasty, the quicksand fell into Jane, and the prototype of the calligraphy could already be seen. The Eastern Han Dynasty Huan Emperor's "Xu'an Guo Ancestral Hall Inscription", "Zhu Shu Brick", "Yongshou Second Year Relief Pottery Vase", the typical strokes of the calligraphy are even more vivid.
Eastern Han Dynasty Changsha Wuyi Square Hanjian (partial)
Three Kingdoms Changsha Zou Ma Lou Wu Jian (partial)
Inscription of xu'anguo ancestral hall of the Eastern Han Dynasty (part of the extension)
The biggest feature of the strokes is the out-of-the-edge, which is faster than the closing brush of the Tibetan front, the back front, or the goose-tail style, and it is convenient to switch to the next stroke, the result is: the left descender becomes an apostrophe; the right descender becomes a pinch; the right and descend strokes need to be connected to the left and the upper strokes to bring out the hook.
In this way, with the shortest stroke line, the most reasonable stroke order organization, and the simplest stroke form, the writing is completed in the block structure formed by the dissolution of the seal book.
Northern Wei Wei Wei Chi statue
The process of italicization and the evolution of cursive writing are heavy in many aspects, and when the grass is constantly reduced to the stroke method of the calligraphy and forms a italic stroke, the combination of the italic stroke and the grass stroke is transferred, on the one hand, it promotes the chapter grass that favors the subordinate position, on the other hand, the removal of the affiliation by making the transfer of the present grass, the differentiation of the chapter grass and the present grass, and together with the writing between the two poles of the main grass, it promotes the process of the italic stroke composition of the italic knot.
As the consciousness of self-consciousness of the script continues to accumulate, its ontological characteristics grow to the point of being able to compete with the matrix, and a desire for social identity will arise.
Northern Wei Sima Jinlong tomb lacquer painting screen inscription (partial)
Wei and Jin also returned, after the transformation of the interests of literati such as Zhong Xuan and Wang Xizhi, the popularization of civil customary books such as the Northern Liang Scripture Writing Style and the Northern Wei Luoyang Style, the mature form of the Kaishu came into being, and the Sui and Tang Dynasties tended to be standardized, becoming a new generation of orthographic characters that replaced the Lishu.
However, the true establishment of the concept of calligraphy as a book body must also face the "interleaved" troubles of "fingering and referral" that are difficult to avoid in the process of matching concepts and schemas.
Northern Wei Huifu Temple Stele (Takumoto)
The cause of the "interlacing of references" is, first of all, the general phenomenon in the process of the correspondence between concepts and facts. Fonts and calligraphy are secondary forms of words, and the morphological division and divorce between different characters and calligraphy not only adhere to the unity and commonality of values, but also for the practice of writing and reading, concepts and techniques always present a chaotic interactive state.
When a new font or new book body is brought to life, this chaotic interaction feature makes the current style in the eye still seek to correspond with the existing concept in the mind, so that it is easy to blackmail its original style and the current style. As the process of trial and error continues, the old concept is gradually deconstructed and the new concept is reconstructed, until the new concept has enough self-confidence and judgment to pass through, and the demand for matching the name will be generated.
The second reason is the constraint of the situational position. Wei Huan's "Four-Body Calligraphy" Yun: "The Ancient King Cizhong began to make the kaifa. Yang Xin's "Cai Gu Lai Neng Shu Ren Ren" Yun: "Birth Character Zhongjiang, Jing Zhaoren, Shan Kai Shu." The concepts of "Kaifa", "Kaishu" and "True Book", which we interpret as the current form of Kaishu, have actually been aimed at non-standard and irregular "vulgar books", "cursive writing" and "xingyi books" for a long time. Therefore, it refers to a lishu in our current concept, which means standard body and orthographic characters.
In turn, the script in our concept was still called Lishu until the Middle Tang Dynasty. The Sui Dynasty "Relic Letter" is an authentic letter, but the fall is "Zhao Chao Li Shu Jing Shang". In the Tang Dynasty, Zhang Huaihuan's "Treatise on the Six Bodies of Writing" lists the large seal, the small seal, the eight points, the Lishu, the Xingshu, and the cursive as the six bodies, of which the "eight points" are now called lishu, and it is the orthodox standard form of the Eastern Han inscription. Among them, the "Lishu" is today's so-called Kaishu, and he lists many famous masters in the "Book Break", including Zhang Zhi, Zhong Xuan, Zhong Hui, Lady Wei, Erwang, Zhiyong, Ouyang Qian, Yu Shinan, Chu Suiliang, Xue Ji, and so on.
After the Middle and Tang Dynasties, the orthographic characters recognized and applied by society shifted to the paradigm of famous calligraphers such as Ou, Yu, Chu, and Yan, and the yishu, and the authentic book changed from generic names in the exemplary sense to special titles in the sense of fonts, and were fixed in the form of special titles in the Northern Song Dynasty. Zhu Wenchang's "Continuation of the Book Break" Yun: "It is known that the Han Dynasty has its own subordinate book, and now the eight points are the addition of the Han Wei and the author, and the present true character is the province of the Han Wei and the author." ”
Indeed, the name of the eighth point originated at the turn of the Han and Wei dynasties, because the increasingly italic lishu at that time needed to be cut off from the standard body of the Eastern Han Dynasty in order to maintain the legitimacy of its own existence, so it was given the latter title of eight points. In the meantime, it is the same as the Wei and Jin Dynasties who created another zhangcao in the name of Zhangcao to cut the standard cursive of the Han Dynasty.
When the legally existing Kaihua Lishu was further italicized to the point that there was no intention of subordination, and the mechanism of "holding the Son of Heaven hostage to order the princes" was no longer applied, the Wei Dynasty Han Zuo became a reality, and the titles of Kai, Zheng, and Zhen, which had the greatest weight, were thus self-proclaimed and monopolized for the Kaishu. This process of "staggering fingers and words" is the baptism and symbol of the successful childbirth of the new book body, and it is also the habitual action of the old book family to test and accept the new book body.