After starting with Tang, why should you enter jin as soon as possible?

The Jin Dynasty was a peak period in the development of calligraphy art, and the artistic achievements were quite high, this is because the Jin Dynasty people were not far from Han Wei, there were a large number of inkblots that were handed down for them to copy and learn, and the teachers were passed down from family relatives and friends, such as Wei Zhi taught calligraphy to Wei Qi, Wei Qi passed on to Wei Heng and Lady Wei, and Wei Heng and Lady Wei passed on to Wei's middle cousin, that is, Wang Kuang, the father of Wang Xizhi, Wang Kuang, who passed on to Wang Xizhi, Wang Xizhi passed on to Wang Xianzhi, and Wang Xianzhi passed on to Yang Xin...

They are all taught orally, usually hear and see, turn to many teachers and diligent work, naturally it is easy to achieve something, plus several kinds of books have been quite mature in the Jin Dynasty, and they are all masters who are proficient in these kinds of books, so they are also easy to integrate and become one. Then there were people in the Jin Dynasty who "were sparse in their spirits, who were in a posture of Xiao Lang, who advocated clean talk, who concentrated on art, who regarded fame and fortune as smoke and clouds, who took nature as the law, who did not agitate or encourage, and whose customs were far away." Therefore, the calligraphy of the Jin Dynasty has a high degree of victory, which is also "driven by the wind club, and it is inevitable".

During the Zhou Dynasty, historians used calligraphy to teach children; during the Han Dynasty, officials were recruited by calligraphy; during the Jin Dynasty, a doctor of calligraphy was set up (the word "doctor" is derived from this), and the Tang Dynasty comprehensively adopted these measures, and also set up a special training of calligraphy talents , "calligraphy", in the tang Dynasty's highest institutions of learning, there were six kinds of schools, they are Guozixue, Taixue, four disciplines, law, calligraphy and arithmetic, the fifth is calligraphy, the conditions for the selection of talents, there are four aspects: one is the body, the second is speech, the third is the book, and the fourth is judgment. The third is books. It can be seen that calligraphy was highly valued in the Tang Dynasty.

Tang Taizong Li Shimin advocated the calligraphy of the Two Kings, he told the princes to learn the calligraphy of the Two Kings, and each post had to be written five hundred times, and he himself was also very fond of Wang Xizhi's "Orchid Pavilion Preface", so that Zhao Mo, Feng Chengsu and other calligraphers copied it, and then as a reward, it was awarded to the powerful courtiers. He also passed on the biography of Wang Xi, and since the ancient scholar received the emperor's biography, only this one person enjoyed this honor, and for a while the scholars and masters all came to the right army of the patriarch.

Yu Shinan was originally taught by Zhiyong Zen master, who was deeply impressed by Zhiyong's penmanship, and Zhiyong was the seventh grandson of Wang Xizhi, so Yu Shinan was also Wang Xizhi's concubine calligraphy school, and Emperor Taizong also learned calligraphy from him. Even Ouyang Qian and Chu Suiliang, who came from the Northern Sect's style of writing, in order to cater to Emperor Taizong's interests, could not help but learn from the Right Army. The monk Huai Ren of Hongfu Temple was ordered to search through Wang Xizhi's handwriting and integrate the "Order of the Holy Teachings".

Even when she arrived at The Empress Wu, she also asked Wang Fangqing for the relics of the Right Army. It can be seen from this that the atmosphere of advocating Wang Xizhi in the early Tang Dynasty was very popular. It can also be seen that the calligraphy of the early Tang Dynasty is closely related to the calligraphy of the Six Dynasties and the Jin Dynasty, which can be called the same lineage.

Later generations studied the calligraphy of the Jin Dynasty and believed that there were two general reasons for learning from the calligraphy of the early Tang Dynasty:

First, the calligraphers of the early Tang Dynasty inherited the calligraphy of the Six Dynasties, they led by the calligraphy of the Jin Dynasty, horizontal and straight, each doing its best, each doing its best, as Su Dongpo said, "Short, long, fat and thin have their own state", taking nature as the law, seeking the law outside the law, so the calligraphy of the Jin Dynasty people is all-encompassing, magical, and endless.

The calligraphy of the Tang Dynasty is a new dynasty, a hundred wastes to be rebuilt, everything must have laws to follow, there are rules to follow, in order to ensure that there is a normal order to develop the various undertakings of society, calligraphy is naturally no exception;

The second is related to the preferences and advocacy of the emperor. From this point of view, it is also natural that the calligraphy of the Tang Dynasty was based on the Jin people. The calligraphers of the Tang Dynasty incorporated the calligraphy of the Jin people into the law, and since then there have been rules such as horizontal and vertical, dot painting neatness, and correct shape, and the calligraphy of the Tang Dynasty is to seek the law within the law, to seek the law within the calligraphy of the Jin people, and the law of the Jin people has become a "definite law", so the calligraphy of the Tang Dynasty has also been limited by the Jin people, so there is less natural interest, and there are laws and rules.

If you follow such a path, you can only repeat the rules and rules, and naturally you will make your own world smaller and smaller. And those who are new to calligraphy, if they do the opposite, first learn the rules, and then learn to be flexible, this is not a correct way to enter the Jin Dynasty from Tang.

Second, it is the calligraphers of the early Tang Dynasty, such as Ouyang Qian, Yu Shinan, Chu Suiliang, Xue Ji, they have personally seen the ink of the Jin people, from which you can clearly see the Jin people's pen, ink and divine charm, because the heart is chasing the real handwriting, so it is easy to copy and learn.

After the early Tang Dynasty, the ink of the Wei and Jin people has gradually entered the secret collection of the Inner Palace, and it is no longer easy for outsiders to see. At that time, the double hook book circulating, some good versions, were also loved by people, and they were secretly not shown, and some versions were hooked again and again, and the fat and thin dot paintings could not avoid distortion, and the difference was a millimeter, and the fallacy was thousands of miles. Han Yu once said that "Xizhi's calligraphy is beautiful", and it is clear that what Han Yu saw may be these versions, which is why there is such an unfair comment. There are also some forgeries that are not learnable, and once they are learned, it is difficult to change their habits.

Therefore, Huang Tingjian said, "To learn the calligraphy of the Jin Dynasty, we must start from the early Tang Dynasty." It is said that the calligraphy of the calligraphers of the early Tang Dynasty has both the rules and laws of the Tang people and the style and charm of the Jin people, so they can get started, learn the rules, and enter the room by themselves. As Zhao Mengfu said, "If you have the ancients' true deeds and count the lines, you can learn them with your heart, and you can become a famous master", which is also the truth.

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