Wei Jin calligraphy Wei Jin calligraphy inherits the Yu Xu of the Han Dynasty, and is extremely creative, which is a milestone in the history of calligraphy and lays the foundation for the development direction of Chinese calligraphy art. The Wei and Jin Dynasties' laws and regulations on the Sui and Tang Dynasties, the meaning of opening the two Song Dynasties, the state of Qi Yuanming, and the simplicity of promoting the Qing People (Guo) have profoundly influenced the calligraphy of successive dynasties and influenced the development of contemporary calligraphy.
The calligraphy of the Wei and Jin Dynasties and the Southern and Northern Dynasties is still Shen Yun, and the demeanor is beautiful, among which the Wei Jin Shang Yun, the Southern and Northern Dynasties Shang Shen. In the Han Li's broken body, the kai, line, and grass developed into a rapid development in this period, and a large number of calligraphy masters emerged, such as Zhong Xuan, "Er Wang", etc., and even appeared in the world's first line of books "Orchid Pavilion Sequence", which can be said to be a period of peak development in the history of Chinese calligraphy! The calligraphy of the Southern Dynasty is graceful and beautiful, comfortable and lively, and joyful with new ideas; the calligraphy of the Northern Dynasty is majestic and simple, strict and thick, and the fang is strict.
Part of the Tianfa Divine Tablet
The Tianfa Divine Tablet, also known as the Tianxi Jigong Monument, was written by Emperor Wu of the Three Kingdoms. The Jin Dynasty was folded into three sections, commonly known as the "Three Duan Stele", and Jiaqing was destroyed by fire for ten years. At present, the Palace Museum has a northern Song Dynasty Tuoben. In the history of Chinese calligraphy, the Tianfa Divine Tablet is a very peculiar inscription. In terms of book style, it is not a seal or affiliation, and it is in between. This stele is written with a pen to write seal characters, the horizontal head is folded with a knife head, the horizontal tail has a wave, the vertical tail is hung with a needle, the turn is square, if the cliff is cut off, the word is majestic.
Huangxiang Zhangcao "Urgent Chapter" part
Emperor Xiang (皇象), courtesy name Xiuming, was a native of Guangling Jiangdu (present-day Yangzhou, Jiangsu). Birth and death unknown. Official Shizhong, Qingzhou Thorn History. Tang Zhang Huaihuan is known for his eight points into the magic, the small seal into the energy, and the chapter grass into the divine product. Qing Bao Shichen said: "Cursive writing is only the emperor's elephant and Suo Jing's pen is drummed and dense, and it is beyond the reach of the right army." "The works passed down from generation to generation include "Anxious Chapter", "Stubborn Post", "Wenwu General Team Post", etc., and "Urgent Chapter" is particularly dramatic. The extant "Urgent Chapter", based on the Ming Dynasty four years according to Ye Mengde's Yingchang Ben as the base of the "Songjiang Ben" is the most famous, with a word count of 1394. Its artistic characteristics are the most exquisite in the evaluation of the Tang Dynasty Dou Zhen and Zhang Huaihuan. Dou Zhen's "Shushu Fu" said: "Guangling Xiuming, simple and ancient feelings, it is difficult to be poor and true, and it can be achieved without learning." Like a dragon oyster, stretch out and resume. Zhang Huaihuan's "Book Break" said: "The Right Army is subordinate to the book, with one form and many faces, and all words are different; Xiu Ming Zhangcao, the many and the form of one, all the words are the same, each creates its own pole." "It has long been an excellent model for learning chapter grass.
Chung Chung's "Table of Appropriate Indications" partial
Chung Chung (锺繇字元常), a native of Yingchuan Changshe (present-day Changgedong, Henan). He was born in the first year of the Reign of Emperor Huan of the Eastern Han Dynasty and died in the fourth year of emperor Taihe of Wei (151-230 AD). Emperor Ling of Han served as a waiter at the Yellow Gate at the time, and was an official of the State of Wei to Taifu (太傅), known in history as Zhong Taifu (锺太傅). He enjoyed a lofty position in the history of Chinese calligraphy, and in the Southern and Northern Dynasties era, he was known as the "Four Sages" with Zhang Zhi, Wang Xizhi and Wang Xianzhi, and later with Wang Xizhi as "King Chung". Liu Song Yangxin said that Chung Sui Shan's inscription stone book, charter book, and xingbi book were immediately written, written in letters, and written in letters. He is most famous in history is Xiao Kai, who has the reputation of "the ancestor of the main book". At present, the surviving books of his books can be confirmed mainly by Xiao Kai, with a total of 10 kinds, namely "He Jie Table", "Recommendation Season Straight Table", "Declaration Table", "Force Life Table" and "Return Post", "Cemetery Field PropheTe", "White Riding Post", "Long Illness Post", "Snow Cold Post", and "Changfeng Post".
Emperor Wu of Liang of the Southern Dynasty thought that Yi Shao was inferior to Yuan Chang, and commented on his words: "Chung Shu is like a cloud and a crane swimming in the sky, the crowd plays the sea, and the rows are dense, and it is really sad." He also said: "Zhang Zhi and Chung Xuan are ingenious and delicate, and they are the same machine god." YuZuku considers his book "natural first". Tang Taizong Li Shimin believed that although Chung Chung was "thick in cloth, densely divided, and rolled in clouds in Xiashu, and everywhere", only Wang Xizhi was perfect. Tang Zhang Huaihuan's "Book Break" believes that "the true book is ancient and elegant, and the Tao is in harmony with the gods, then the Yuan Chang is the first". He also said: "Rigid and soft, between the dots and strokes, there are many different interests, which can be described as deep and endless, and there is more than enough elegance." Since the Qin and Han Dynasties, there has been only one person. Liu Xizai, a Qing dynasty, believed that "his book is too clever to be reached by future generations."
Chung Chung, as a state minister, carried out active activities in the field of calligraphy, which was a great promotion of people's enthusiasm for calligraphy, which in itself had a very important significance; more importantly, his efforts accelerated the pace of the maturity of the calligraphy, and had a direct leading role for the rise of the second king of the Eastern Jin Dynasty. His Xiao Kai has long influenced the small Kai scholars in history. The reputation of "the ancestor of the true book", he deserves it.
Preface to the Orchid Pavilion (don feng facsimile)
Lanting cultivation, so that Wang Xizhi touched the beauty of landscapes, the mysteries of the universe and the true meaning of life, in the realm of material and self-forgetfulness, in one go, he wrote down the masterpiece "Lanting Collection", precisely because he has deep affection, so he can pay attention to the end and be naturally interesting; also because of his exquisite penmanship, he can make the bottom of the pen like a cloud flowing water and have both form and god; and because he has all the beauty, he can make the writing of this manuscript finally reach the realm of gaohua harmony. In the face of this perfect work, although the famous artists of later generations tried their best to imitate it, they could not get it completely. Zhang Boyun of the Southern Tang Dynasty: "Those who are good at writing the Fa, each has one body of the Right Army." If Yu Shinan gains his beauty and loses his handsomeness, Ouyang inquires about his strength and loses his gentleness, Chu Suiliang gets his intentions and loses change, and Xue Ji gains his purity and loses his embarrassment. And Wang Xizhi himself only wrote this masterpiece, and then he wrote the "Orchid Pavilion Preface" again, which could not match the original work's magic, Shen Yinmo said, "At that time, Yi Shao Ben Tianquan", praising the excellence of the "Orchid Pavilion Preface" has its irreproductible opportunity, naturally beyond the reach of others.
Part of the Northern Wei stone carving "Shimen Ming"
"Shimen Ming" is a famous Northern Wei stone carving, because it is a record of reopening the Chu Chu Dao, which is a major event for the benefit of the country and the people, so The Book Dan and chisel carving were also consciously completed by calligraphy and chiseling masters at that time, which can also be seen from the cliff text, the cliff text is located in the east wall of the Stone Gate of Shaanxi Province, and the Book Dan is "Taiyuan County Wang Yuan", the chisel character is "Henan County Luoyang County Wu Aren", and the name is inscribed in the cliff inscription, which shows that although the artistic achievements of Wang Yuan and Wu Aren are not recorded in history, But their superb works of art show that they were masters of art who were socially recognized at that time. "Shimen Ming" is to absorb the famous Han Li "Shi Men Song" and other Vigorous condensation of the seal penmanship in the same place, and the gestures and posture also absorb the characteristics of han Li's ups and downs, opening, and qi li such as "Shi Men Song", and develop into the Northern Wei Kaishu that was opened in Qi.
Part of the "Portrait of Shiping Gong"
The "Record of the Statue of Shiping Gong" was originally an inscription attached to the Buddhist shrine, the full name is "Bhikkhu Hui Became the Deceased Father of Shiping Gong Statue Inscription", Northern Wei Xiaowen Emperor Taihe 22 (498), inscribed on the north wall of Guyang Cave in Luoyang, Henan. The inscription was written by Meng Da and written by Zhu Yizhang. The difference between this stele and other stele is that the whole stele uses the Yang carving method, word by word, which is only seen in the stone carvings of previous dynasties, and is unique in the record of statues. The content of the inscription is to send the religious feelings of the image bearers, and also to pray for the blessings and disasters of the deceased. During the Qianlong period of the Qing Dynasty, it was first discovered by Huang Yi (1744-1801), valued by the book world, and listed in the "Longmen Twenty Pins", this inscription square pen cut off, the stroke folds heavy to the square, the knot body flat square tight, the dots thick and full, the sharp edge, appearing majestic and extraordinary, was pushed as a representative of the Wei monument square pen rigid style.
Part of "Epitaph of Zhang Heinu"
The full name of the "Epitaph of Zhang Heinu" is "The Epitaph of Zhang Xuan of The Taishou of Nanyang of Wei", also known as the "Epitaph of Zhang Xuan". Zhang Xuanzi black woman, because of the avoidance of the Qing Kangxi Emperor love Xinjue Luo. Xuan Ye's name is secret, so the Qing people are commonly known as the "Epitaph of Zhang Heinu". There are twenty lines in this book, each line is 2 crosses, for a total of 367 words. Its calligraphy is exquisite and ancient, steep and simple, the structure is flat and loose, the inside is tight and loose, and it is more submissive. Although this epitaph is a canonical book, the writing is eclectic, the wind and bone are introverted, and the nature is elegant. The penmanship of the center and the flank is used at the same time, and the square circle is used at the same time, in order to achieve a combination of rigidity and softness, and the vivid and flowing style can be called the fine works of Northern Wei calligraphy.
"Cuan Bao Zi Stele"
The Southern Dynasty followed the Jin system and prohibited the erection of monuments, so there were very few inscriptions, while the Yunnan "Er cuan" ("Cuan Bao Zi Stele", "Cuan Long Yan Stele") can be described as brilliant as the stars, shining in the night sky. Compared with the "Cuan Long Yan Stele", this stele has a small number of words and a small stone stele (1.83 meters high and 0.86 meters wide), so later generations called the "Cuan Bao Zi Stele" "Xiao Cuan". The "Cuan Baozi Monument" was established by the leaders of the border ethnic minorities in Yunnan province by the influence of Han culture and imitated the Han system. "Cuan Bao Zi Stele", the words are many different styles. Later generations have many interpretations. The script is in italics with a distinct sense of affiliation. Some of the horizontal paintings in the stele still retain the wave pick of the Lishu, but the knot body is square and close to the script. The pen is mainly a square pen, heavy and simple, and clumsy. It seems stupid, but the momentum of flying is often present, and it is full of ancient atmosphere. Li Gengen said that the stele was "as strong as iron and as beautiful as a goddess"; Kang Youwei called his calligraphy "simple and ancient, and full of strange postures". Kang Youwei's evaluation of this monument as "the appearance of a simple ancient Buddha" in "Guangyi Zhou Shuangyi" is very appropriate.
Part of "Crane Ming"
"Crane Ming", large character Moya, Southern Liang Tianjian thirteen years carved, signed "Huayang Zhenyi written, Shanghuangshan Qiao Zhengshu." "Here is a commemorative article mourning the crane, although the content is insignificant, and its calligraphy art is indeed valuable. Who wrote this inscription? It has always been controversial. The Song Dynasty Huang Changrui examined it as a book written by Tao Hongjing of the Liang Dynasty. Although the inscription is small but imposing, the look is flying, and the reading is endlessly evocative. With the pen to hold up the strong, the round pen hides the sharp edge, and the body method changes from the seal. The knot is wide and stretched, up and down, such as the low dance of the crane, the manners are generous, the flowers are immortal, the words are as its name, the appearance is consistent, and it can be called a masterpiece of calligraphy. Huang Tingjian of the Northern Song Dynasty believed that "the big characters are no better than the "Crane Ming", "its victory is unsightly", and praised it as "the ancestor of the big characters". Song Cao Shimian praised his "magic of penmanship, the crown of the scholar". The reason why this stele is revered is because it is the calligraphy charm of the Southern Dynasty era, especially the penetration of the pen used by the center of the seal book; coupled with the effect of wind and rain erosion, it also enhances the majesty and deep charm of the lines. The extension and inscription of this stele have long been passed down internationally, and they are famous at home and abroad, and they are representatives of the study of the art of calligraphy. It is not only a mature calligraphy, but also an important physical material that can comprehend the history of the development of the seal and the traces of the gestures in the development of the calligraphy.
The Great Nirvana Sutra
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 mainland China, especially the History of the Development of Calligraphy in the Sui and Tang Dynasties, and even the Wei, Jin, Qin and Han Dynasties. Dunhuang calligraphy has a wide range, generally the calligraphy of the suicide note excavated from the Tibetan Scripture Cave, but also includes the Han Dynasty Hanjian calligraphy, grotto inscriptions and existing stele calligraphy excavated from the ancient ruins in the Dunhuang area. 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!
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