Qinqi calligraphy and painting, known as the four arts of the composition room in ancient times, is a well-praised entertainment activity of the literati and inkers, the ancients believed that playing the piano, playing chess, writing, painting, or just listening to the piano, watching chess, appreciating words, reading paintings, understanding poetry and painting, can appreciate the eyes, cultivate sentiments, and benefit health and longevity. Those daily necessities, mountains and rivers during the Tang Dynasty truly reflected the way of life and scientific and technological level of people at that time, combined with the record of the background of the era of calligraphy and painting, it was even more interesting to appreciate the characters.
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Datang was in the heyday of feudal society, the country was unified, the society was relatively stable, the economic prosperity and the frequent and active places of foreign economic and cultural exchanges, all of which brought new opportunities to the development of culture and art, so that the art of painting formed a brilliant and brilliant situation, and a number of famous painters with great influence in history emerged.
The painting genre of the Tang Dynasty is still dominated by figure painting, the court office and temple murals account for a considerable proportion, the portraits of meritorious heroes continue to be praised, and the grottoes and temple murals have a greater development than the Southern and Northern Dynasties, and their scale and skill are unprecedented in history. The popular large-scale classic themes in the Buddhist temple murals have reached an unprecedented level, interspersed with a large number of life scenes, the humanized component of the Buddhist image created has been significantly enhanced, and even the phenomenon of using gongwa as a model to shape the image of the bodhisattva has appeared, and the devotees attached to the Buddhist temple murals occupy a larger wall, all of which shows the tendency of Buddhist painting to adapt to the good social good and tend to secularize.
The art of calligraphy in the Tang Dynasty can be divided into three periods: the early Tang Dynasty, the Middle Tang Dynasty and the Late Tang Dynasty. In the early Tang Dynasty, it was mainly based on inheritance, respected the law, and deliberately pursued the beauty of jin dynasty calligraphy. Zhongtang is constantly innovating and extremely prosperous. Late Tang Dynasty calligraphy also made progress.
In the Tang Dynasty, there were six kinds of highest schools, namely Guozijian, Taixue, Sishu, Law, Calligraphy, and Arithmetic. Among them, calligraphy, specializing in the cultivation of calligraphers and calligraphy theorists, was a pioneering work of the Tang Dynasty. Famous people from all over the dynasty have emerged, and they are like stars. For example, Ouyang Qing, Yu Shinan, Chu Suiliang, etc. of the early Tang Dynasty, Yan Zhenqing and Liu Gongquan of the Middle Tang Dynasty, are all calligraphers. In the late Tang Dynasty, there were Wang Wenbing's seal book, Li Yan's calligraphy, and Yang Ning's "Erwang Yanliu" afterglow.
The Tang Dynasty was the heyday of the development of ancient calligraphy art in China, there were many famous calligraphers, they all left extremely precious calligraphy works, calligraphy, cursive writing, calligraphy in the Tang Dynasty also rose to a higher level, with distinct and prominent characteristics of the times, has a very far-reaching impact on the calligraphy of later generations, so there is a "book to the early Tang Dynasty and extremely prosperous" this saying. In addition, the calligraphy education of the Tang Dynasty also made indelible contributions to the extraordinary achievements of Tang Dynasty calligraphy, and had a far-reaching impact on future generations.
Calligraphy refers to the art of expressing emotions using the Four Treasures of the Literary Room as a tool. The particularity of tools is an important aspect of the particularity of calligraphy art. With the help of the four treasures of the study room as a tool, the performance of the tool is fully reflected, which is an important part of the calligraphy technique. Without the four treasures of the study room, the art of calligraphy cannot be discussed.
The background of calligraphy art is traditional Chinese culture. Calligraphy is rooted in the soil of traditional Chinese culture, which is the background for the survival and development of calligraphy. The theory of calligraphy that we can see today since the Han Dynasty has its own systematicness, integrity and orderliness.
Here we share Zhang Xu's calligraphy works.
Zhang Xu (685?) —759? Zi Bogao, a character JiMing, a native of Wu County, Suzhou (present-day Suzhou, Jiangsu), a Calligrapher of the Tang Dynasty, good at cursive writing, liked to drink, known as "Zhang Qian", and Huai Su and called "Bumpy Zhang Drunk", and he Zhizhang, Zhang Ruoxu, and Bao Rong were called "Four Soldiers of Wuzhong", and together with He Zhizhang and others, they were called "Eight Immortals in Drinking", and their cursive writing was called "Three Absolutes" together with Li Bai's poetry and Pei Min's sword dance.
Zhang Xu was born in a family with a not low rank, he studied calligraphy from his uncle Lu Yanyuan, and after his studies, he was admired by Wu Daozi and Yan Zhenqing; when he was older, he entered the army through the promotion or recommendation and conquest, and was released as a lieutenant of Changshu County; he successively served as the governor of Zuo Prefecture and the long history of Jin Wu, so he was known as "Zhang Changshi"; he died in about the second year of Qianyuan (759) at the age of about seventy-five.
In terms of calligraphy, Zhang Xu is diligent in observing objective things, good at combining objective natural objects with personal subjective emotions, inheriting both tradition and innovation, inheriting the calligraphy achievements of his predecessors and innovating them, so that his wild grass art reached a peak in the prosperous Tang Dynasty. The handwriting includes "Champion Post", "Langguan Stone Pillar Record", "February 8 Post", "Disease Pain Post", "Belly Pain Post", "Ancient Poem Four Posts" and so on.
During the Tang Dynasty, the famous calligrapher Zhang Xu wrote "Champion Thesis" for appreciation
Zhang Xu (Zhi) "Champion Thesis" (Daguan Ti, Palace Museum collection of Yang's Haiyuan Pavilion Song Tuoben).
After more than 1,800 years of human and natural calamities, Zhang Zhi's remains have been wiped out since the Song Dynasty, and now only appear in the fourth volume of the engraved "Chunhua Ge Ti", which is marked as zhang Zhi's book four posts, of which the first post is the Dacao "Champion Post", which is his prominent representative work.
The Chunhua Ge Ti has not been passed down from generation to generation after the Southern Crossing of the Song Dynasty. Since then, it has been passed down all over the world, and it is impossible to count, miscellaneous toilets are overgrown, and all kinds of replicas have been passed down to the present day, and none of them have lost the true face of Lushan. The "Champion Thesis" in the three kinds of "Chunbi Ge Ti" of You Xiang ben, Su Fu Ben and Pan Shi Ben are all poorly engraved, and there is little charm, which is very different from the "Champion Post" that has been double-hooked. The double hook facsimile layout is larger, the line is long, the base facsimile is exquisitely engraved, and it is beautiful and moving, which can be described as a wonderful idea, and the authentic handwriting is first-class. Unfortunately, it has long been seriously damaged. Since then, the base of the hook has not been published, and it is often cited as a pity. In 1985, the published "Xingcao" of Shanghai Calligraphy and Painting was included in the "Champion Post", which is no different from the Shuangjun Ben, that is, the hooked base of the year (this post was signed "Tang Zhangxu Champion Post"). Judging from the exquisite layout and engraving, this post is suspected to have been published from Song Tuo's "Daguan Tie" (the "Daguan Ti" is longer, and the engraving is far better than the existing "Chunhua Ge Ti" engravings).
This post was copied twenty years ago to the present, rarely read, but every time it is reviewed, it is always sighing, the mood is difficult to calm, I feel that in this limited form, what is displayed to people is really a world of thousands of images, allowing the viewer to be at the pole of god, empathetic, fascinating, comfortable, uplifting, reverie? An endless charm, soul-grabbing and thought-provoking. Looking closely, it is also an ocean of "law", where it contains the endless treasure of "beauty", the business of infinite "movement", and the philosophy of "moving"? It is really possible to say: "There is a wonderful must be perfect", "can not be without", "no momentum is not prepared", all of which are so harmonious and vast, harmonious and natural.
During the Tang Dynasty, the famous calligrapher Zhang Xukai wrote "Langguan Stone Pillar Record" to appreciate
One of Zhang Xu's "Records of langguan stone pillars"
Zhang Xu's "Records of Langguan Stone Pillars" No. 2
Zhang Xu's "Records of Langguan Stone Pillars" No. 3
Zhang Xu's Records of langguan stone pillars, part IV
Zhang Xu's "Records of Langguan Stone Pillars" No. 5
Zhang Xu's Records of langguan stone pillars no. 6
Zhang Xu's "Records of Langguan Stone Pillars" No. 7
Zhang Xu's Records of langguan stone pillars, no. 8
Zhang Xu's "Records of Langguan Stone Pillars" No. 9
Zhang Xu's "Records of langguan stone pillars" no. 10
Zhang Xu's Records of langguan stone pillars, no. 11
Zhang Xu's Records of langguan stone pillars, no. 12
Zhang Xu's "Records of Langguan Stone Pillars", No. 13
Zhang Xu's Records of langguan stone pillars, no. 14
Zhang Xu's "Records of langguan stone pillars", also known as "Langguan Hall Wall Record", written by Tang Chen Jiuyan, Zhang Xushu. Tang Kaiyuan was founded in the 29th year (741 AD) in Xi'an, Shaanxi. This stone has been engraved at the time of the Song Dynasty. The font takes Ouyang Inquiry and Yu Shinan's penmanship, which is dignified and rigorous, does not lose the rules, and shows the subtlety of the script
"Langguan Stone Pillar" is the most reliable zhang xu authentic handiwork, the original stone Jiuyou, handed down only Wang Shizhen's old collection "Song Tuo's orphan book", which is extremely precious. This stone has been engraved at the time of the Song Dynasty. Ming Dong Qichang was once engraved in the "Drama Hongtang Post".
Before and after the Tuoben, there were more than ten inscriptions by Hu Xiaosi, Wang Shizhen, Wang Jun, Weng Fanggang, Qian Yong, Wu Rongguang, He Shaoji and so on. Later, at the end of the Qing Dynasty and the beginning of the Ming Dynasty, the Yangzhou people ji fu made a statue of Zhang Changshi.
The Long History True Book "Langguan Shizhu Record" is written simply and far away, such as the Jin and Song dynasties. For example, the "Jigulu" Yun: "Xu is famous for its cursive writing, and the Langguan Stone Pillar Record is really cute." Huang Tingjianyun: "The Long History of the Pillars of the LangGuan Hall", the Tang Dynasty's main book, is incompetent to the right. Su Shiyun: "Those who are called good cursive in this world, or who do not do the real thing, this is also a great delusion." True life, real grass. Truth is like standing, walking is like walking, grass is like walking. There are no ones who can not stand and can walk. In present-day Chang'an, there is a long history of the true book "Langguan Shizhu Record", which is written simply and far away, such as the Jin and Song dynasties."
During the Tang Dynasty, the famous calligrapher Zhang Xu's cursive book "February 8th Post" was appreciated
Zhang Xu's "February 8th Post" (拓本和翻墨本) is written by Zhang Zhi, or by Zhang Xu. Interpretation: On February 8, Poyang and others were restored, and for a long time they did not hear anything, for the sake of comfort, peace and other people should be with the line, but not enough and news.
During the Tang Dynasty, the famous calligrapher Zhang Xu's cursive book "Pain Sticker" was appreciated
One of Zhang Xu's cursive books "Pain Patch"
Zhang Xu's cursive book "Pain Patch" No. 2
Zhang Xu cursive "Pain Patch" No. 3
Zhang Xu cursive book "Pain Patch"
During the Tang Dynasty, the famous calligrapher Zhang Xu wrote "Belly Pain Thesis" for appreciation
Tang Dynasty Zhang Xu cursive "Belly Pain Post" single engraving post. No money. This post uses the pen to make the turn, rigid and soft, ever-changing, and the charm is ethereal. The whole post is only 30 words, and it is written with a full flow of breath and rhyme. Ming Wang Shizhen Baoyun: "Zhang Changshi's "Belly Pain Post" and "Thousand Character Text" are several lines, and the ghosts are fascinating, if they are unpredictable. ”
The authentic manuscript of "Belly Pain Thesis" has not been passed down, there are Song engravings, re-engraved in the Ming Dynasty, and now the Forest of Steles in Xi'an. The full post has six lines and 30 words, which seems to be a medical case that Zhang Xu consulted himself when he had stomach pain. The three words at the beginning of this work are still relatively regular, and there is no connection between the words. From the fourth word, each line is stroked to the end, up and down, entangled, the faster I write, the more I write, the more crazy I write, the more strange I write, the imagery is repeated, the upside down is full of flavor, and the situational performance of cursive writing is exerted to the extreme. It can be seen that Zhang Xu's feelings of vertical and horizontal arrogance, the wanton catharsis, the arrogance of Mount Tai's pressure, the unpredictable situation, in the wild grass of the book, turned out to be out of the sky, making the viewer thrilled.
Interpretation: Sudden stomach pain is unbearable, I don't know if it is caused by hot and cold, want to take rhubarb soup, hot and cold are beneficial, how to calculate, not cold?
Through the first sentence, it can be known that he began to write this picture when his stomach suddenly ached, and the second sentence was written after his stomach pain: This time the stomach pain does not know whether it is cold or on fire? (Tian Jia: It doesn't seem to hurt too much, and there is also kung fu analysis.) Plan to drink some rhubarb soup (rhubarb cooked and drink it has anti-diarrhea effect). Zhang Xu's medical skills are really not smart, it is a two-handed knife, after prescribing medicine to himself, he does not know how to take it, saying: Hot and cold are beneficial, what to do? I don't know if it's good to drink cold or hot. Finally, immediacally decided: Drink hot. Non-cold is to negate the cold.
Writing can be done in a short time, especially cursive, and if there are few words, it can be completed in an instant.
Zhang Xu just started to write this picture when the stomach just hurt up, not too painful, there is this content is not ready-made, is to write while thinking, so at the beginning of the writing is more regular, with the thinking of the progress, with the intensification of stomach pain, almost can't hold back, so the more scrawled, the more writing more rapid, the more free to write. At the end of the word, I must have thrown the pen away and ran to the hut.
Because he wrote this character in an instant sense, and achieved a perfect combination of content and form, we will find that the writing process of this work is extremely interesting, very graphic, full of humorous elements, it is hilarious to think of, and the great calligrapher Zhang Xu is also too funny. This is an influence of the instantaneous state on calligraphy, that is, it intuitively reveals the writer's mood and emotions at this moment.
On the other hand, precisely because of this momentary feeling, his handwriting on the paper is full of temperature, full of temporality, and full of unexpected strokes of god. The lines it writes at this time are living lines, movable words, not dead ink. Because he does not care about the line when writing, he only lets his feelings vent. The ancients said: Unintentional to Jia Naijia, this is what it means. There is also calligraphy in ancient times is a practical art, often in the premise of use value to show his artistry, such as the Second King Codex, Mi Fu Ruler, etc., at that time no one took him as a calligraphy work to write, is a letter.
During the Tang Dynasty, the famous calligrapher Zhang Xu wrote "Four Ancient Poems" for appreciation
Zhang Xu's "Four Ancient Poems" Dongming Jiuzhi Gai, North Candle Five Cloud Car. Drifting into the inverted scenery, haunting the smoke. The spring spring under the jade, the blue bird to Jinhua. Emperor Han looked at the peach core, Qi Hou
Ask thorns (originally written as dates) flowers. You should go to the Yuanjiu and visit the Cai family.
The north que is near Danshui, and the southern palace is born with daiyun. Dragon mud printing jade Jane (original poem as a strategy), the fire to practice the real text. Shangyuan wind and rain scattered
Zhongtian Ge (originally a song in the poem) blows points. The void (the original poem is the spirit) rides on the thousands, and the empty fragrance smells of the thousands.
Prince Xie Lingyun Jinzan
Ladylike is not beautiful, it is difficult to ten thousand years.
The palace is not inexpensive, but if it ascends to heaven. The prince is clear and open, and the district is really loud. The noise is seen in the floating hill gong, and er is in turmoil (translation).
Iwashita's husband four or five teenagers praised
Hengshan medicine people, the road is also lost in grain. Sit down under the resting rock and see the opposite. One old, four or five young,
Immortals can't be separated? His books are not secular, but his people will be wise.
The strokes are plump throughout, and there is no weak and slippery brush. The writing is full of ups and downs, the movements are staggered, and the paper is like a cloud of smoke, which is really the peak of cursive writing. Li Zhimin, a professor at Peking University and the pioneer of introducing the monument into the grass, commented: "The four ancient poems are not in dispute, none of them are not allowed, there are echoes and responses, and they are naturally formed. Guo Zixuyun, a modern person: "The Four Theses of Ancient Poems can be said to be the crystallization of Zhang Xu's entire life, a typical example of genius beauty and natural beauty, the essence of national art, and a symbol of eternal beauty."
There are a small number of weak strokes in the "Four Treatises of Ancient Poems", but they do not affect the flow and thickness of the entire work, and in most of the lines, they have reached the realm of handy and interesting writing. The law of random transportation in cursive writing is a situation that Gao Xian and others have never dreamed of.
What really surprises people in the "Four Posts" is the word structure. Due to the influence of reading and appreciation habits, the "one-word structure" is always a level that the appreciator feels cannot shake off. Compared with Zhang Xu's other works, this one does not conform to his usual rules of word formation.
The penmanship of the "Four Theses of Ancient Poems" is unrestrained, like lightning and thunder, and it is not far from the rules. The writing is full of ups and downs, the movements are staggered, and the paper is like a cloud of smoke, which is really the peak of cursive writing. Dong Qichang commented: "There is a cliff falling, a rapid rain and a whirlwind.
We must have our own style in inheriting the tradition of the ancients, and the more prominent this style is, the greater the impact on future generations, and the European body learned by Yao Mengqi in the Qing Dynasty is exquisite, but in the end it has no own characteristics and has not been posted. And this kind of person who did not come out of the post accounted for the vast majority in ancient times, so it can be seen that innovation in calligraphy is a very difficult thing.
Of course, we don't need to be sad because there is no post, the pro is good enough, enough like can become a generation of everyone, this is already very good, in the Yuan and Ming Dynasties, many famous calligraphy in the annals of history, although the style is similar, almost Zhao Mengfu, Dong Qichang's style, similar to the Wei and Jin style, such as Ke Jiusi, Kang Li Wei, Tang Yin, Peng Nian and so on, they can also become the leaders of the times, the same will be remembered by future generations.
Therefore, learning calligraphy must inherit the classics of the ancients, and try to innovate on the basis of copying the ancients, as to whether it can be innovative and whether the style is different enough, this is not very important! You should learn calligraphy according to your personal preferences, and you must not blindly seek fame and fortune, otherwise you will deviate from the essence of calligraphy learning and fall into the magic path.