Since the discovery of the Dunhuang Tibetan Scripture Cave in 1900, tens of thousands of ancient texts have been published to the world, which has attracted the attention of researchers of various disciplines. Due to its special natural environment and geographical conditions, Dunhuang has not only preserved a large number of murals and painted sculptures, but also preserved a large number of calligraphy and ink. The excavation of Dunhuang calligraphy has made immeasurable contributions to the study of the history of the development of ancient calligraphy in China, especially in the Sui and Tang dynasties, and even in the history of the development of calligraphy art in the Wei and Jin dynasties, Qin and Han dynasties.
Dunhuang calligraphy has a wide range of teachings, generally based on the calligraphy of the suicide notes excavated from the Tibetan Scripture Cave, but also includes the Han Dynasty Hanjian calligraphy, grotto inscriptions and existing inscriptions excavated from ancient sites in the Dunhuang area.
The Dunhuang Testament, which includes more than 40,000 volumes of ink from the Jin Dynasty, the Sixteen Kingdoms, and all the way to the Northern Song Dynasty, is the richest and most systematic first-hand account for studying the history of the Italicization period of Chinese characters and their calligraphy art. The style of the Dunhuang Testament has obvious characteristics of the times and regional characteristics, and is called "scripture style". The "script of scriptures" originated from the "simplified script" of the Han Dynasty, completed in italics of the Tang Dynasty, and was an important script for copying scriptures after the two Jin Dynasties. It meticulously records the whole process of italicization after the transformation of Chinese characters, and plays a major role in promoting the development of chinese characters.
Most of the Dunhuang testaments are copied with pens, which are the masterpieces of ancient folk calligraphy. The scribes of the scrolls were all employed scribblers or ordinary commoners. They have been copying for many years, practice can make skill, and they have been writing for a long time. Some write strongly and bravely, and some write boldly; some write skillfully and elegantly. The calligraphy, grass, affiliation, and seal are all available, which are rich and colorful, and the performance is natural and simple, and the mobility is flexible. Its skill and law, aesthetic taste, are admirable!
Dunhuang calligraphy is a treasure of Chinese calligraphy art, with strong calligraphy art characteristics, so much so that it is called "scripture writing style". In terms of the origin of the teacher, the writing style of the scriptures takes the popular calligraphy model as its own standard. Most of the Dunhuang Scriptures are copied with pens, which is the culmination of ancient folk calligraphy (here we should pay attention to it, it is the culmination of folk calligraphy, not a famous artist). The scribes were mostly employed civilians. Because they have been copying for many years, repeatedly copying many words, practice can make skill, long books into art, and the basic skills are strong. Some are strong and brave, and some are bold; some are skillful in writing and gentle and elegant. The expression is natural and rustic, and it is flexible and flexible. Its power and method, aesthetic taste, are admirable. It is a classic work that reaches the natural writing in italics.
Dunhuang wrote the scriptures, with a long history and a huge number, and the variety of calligraphy, the variation of brushwork, the ingenuity of the style, and the depth of the skill, are breathtaking, and it is the most precious historical material in the history of Chinese calligraphy.