The Tang Dynasty was the most glorious period in the history of China's feudal society, and the development of calligraphy art entered a whole new realm. The calligraphy of the Early Tang Dynasty included Ouyang Qian, Yu Shinan, Chu Suiliang, and Xue Ji, as well as Lu Kamzhi, Sun Guoting, and others, each with their own style, opening up a new pattern of "Tang Shu Shangfa".
In the Tang Dynasty, the calligraphy was mature, and the calligraphers were born, yu Shinan, Ouyang Qing, and Chu Suiliang in the early Tang Dynasty, Yan Zhenqing in the Middle Tang Dynasty, and Liu Gongquan in the late Tang Dynasty, and their calligraphy works were all valued by later generations and reached an unprecedented height. Among them, Ouyang Qian's calligraphy came from the Jin and Northern Wei Dynasties, absorbing the elegance and elegance of the "Erwang" calligraphy and the dangerous and vigorous style of Wei Bei, forming his own calligraphy style of dangerous pen strength, strong bones, strict law and unique structure. The rigor of his calligraphy and the steepness of his penmanship are unmatched in the world, and he is known as the first Tang Dynasty calligraphy.
Ouyang consulted Wang Xizhi for the first time, and then gradually changed his body by absorbing the simple calligraphy style of the Northern Dynasty, from the seal book to the pen, the Jin Thesis to the rhyme, the Sui stele to the god, and finally formed a new body of "round and smooth square" with strong pen strength and steep structure.
During the reign of the Sui Dynasty Emperor, Ouyang Qing wrote the "Sui Shangshu Zuo Servant Shooting Yuan Longevity Monument". At the time of the founding of the Tang Dynasty, Ouyang Was already an old man in his sixties. More than twenty years after entering the Tang Dynasty, it was the most plump and glorious period of his life, during which he left many masterpieces, and the name of "European Body" was only in the history of calligraphy. Ouyang Que was originally a close confidant of Li Yuan, the emperor of Tang Gaozu, and after Emperor Taizong took the throne, he courteously treated his father's old ministers but was not close, and arranged for him to be the prince in the Eastern Palace, so later generations also called Ouyang Que "Ouyang Rate More".
Although Ouyang Inquiry worked hard in the East Palace, there were many errands for writing monuments, and most of them were monumental masterpieces. According to the statistics of the Northern Song Dynasty Jin Shijia's bibliography, Ouyang Qing wrote more than ten inscriptions in the Tang Dynasty. Among them, there are the tombstones and epitaphs of ministers and famous monks, as well as the inscriptions of the royal palace cemetery. Ouyang inquired about the seal of the seal is exquisite, and its seal book can be seen on the stele of the "Jiucheng Gong Liquan Ming", such as the "Fang Yan Qian Stele", but its line book is only a quick writing style of the letter of the stroke, and the knot is a longitudinal and oblique posture, which is moving, but because of "surprise jumping, it hurts the elegance". The xingshu "Shu Xi Shi Ti" and "Shu Shu Ti" written by Mi Fu in Huzhou intensified the vertical trend of Ouyang's inquiry book.
Ouyang Qing is famous for his calligraphy, which is sharp and straight, with thin characters and a strict structure, like a "spear and a forest column". The upper half of the knot is wide and comfortable, and the lower half is tight, resulting in a low but towering posture with a low center of gravity, which is both "stable" and "dangerous". Ouyang inquired about "pen strength and danger", the Song Dynasty Mi Fu called it "dangerous", the Qing Dynasty people said that he dared to use a "dangerous pen", always without a "danger".
The "strong danger" of the European body has won the admiration of the scholars, and it has also lost its gentleness and lack of polishing because of the "strong danger", and some people have described it as "King Kong's eyes, and the force swings his fist". Zhang Huaihuan of the Tang Dynasty pointed out in his "Book Breaks": "Inquiring about the eight bodies to the fullest, the pen strength is dangerous, the seal book is particularly exquisite, the flying white crown is absolute, it is stronger than the ancients, it is disturbed into the elephant of snake fighting, and the clouds and mist are lightly caged..." Su Shi commented on his book: "Ouyang rate is more bookish and tight-tuning, especially in Xiao Kai, the rate is more cold-looking, the sensitivity is extraordinary, and now look at his books, the strength is dangerous, and he is just called his appearance."
Looking at his books "Huadu Temple Stele", "Emperor Fu's Birthday Stele", "Jiucheng Gong Liquan Ming" and "Yu Gong Gong Monument", yu Pingzhong saw dangers, there was a wind of law enforcement and court contention, which can be described as "outstanding, solid and not follow the tide" (Ming Xiang Mu language), all of which are models of Tang Dynasty calligraphy.
Among them, the "Huadu Temple Stele" is QingJin Xiujian, and the calligraphy is the most rigorous. The Qing Dynasty calligrapher Weng Fanggang studied the Ou collection throughout his life, and carefully examined the various monuments of the European Books, and highly respected this stele. He once said in the inscription: "If we talk about the Tang Dynasty calligraphy, then "Huadu" is the first, "Liquan" is second, and "Yu Gong" is second." If we want to pursue the Jin Fa, then "Huadu" is the first, "Yu Gong" is second, and "Liquan" is second. ”
"Huadu Temple Stele" Dunhuang fragment of the Tuoben
The original stele of "Huadu Temple Stele" was carved in the Zhongnanshan Buddhist Temple in Chang'an (present-day Xi'an), and was carved many times after the stone was destroyed during the Northern Song Dynasty. There are two kinds of engraving: southern thin and northern fat. According to legend, in the early years of the Northern Song Dynasty, Fan Yong saw the original stone of the "Huadu Temple Stele" at the Nanshan Buddhist Temple and sighed as the most precious treasure. The monks in the temple mistakenly believed that there was a treasure in the stone, and when they broke the stone and asked for it, they could not abandon it, and the stele was broken into three stones. Later, after the Rebellion of Jingkang in the Southern Song Dynasty, the debris was shattered. During the Song Dynasty, some people re-engraved according to the Song Tuoben, and many of them were engraved later.
The "Huadu Temple Stele", which is praised by the book circles, mostly refers to the original stones of the Tang Dynasty left in the Song Dynasty, and its Linma engraving stone is extremely exquisite. Later generations mistakenly regarded the Song ren engraving as the original stone of the Tang Dynasty, and still claimed that the Tang stone Song Tuo was mainly the mistake of Weng Fanggang. In the twenty-second year of the Qing Dynasty (1896), the Dunhuang Stone Room once found a six-page fragment of the old Tuotuo"Huadu Temple Stele" ( dunhuang fragments , which were later taken abroad by the Frenchman Bo Xihe and stored in the Library of Paris in France and the Museum in London, England. The fragments of Dunhuang are thin in size, with four lines on each side, five characters in the line, and only 236 characters remain in the residual characters or cut or painted, and the literature is repeatedly misreported, misdemembered as 226 characters.
In the "Huadu Temple Stele" passed down from generation to generation, only Wu County Wu's Si Ou Tang collected the old collection of the prince, referred to as the "Si Ou Tang Ben", this stone flower and broken marks are the most natural, is the Tang carved original Tuo lonely book; the beginning of the volume has Wu Hufan painting "Survey Stele Map" and "Huadu Temple Stele Style". The album contains inscriptions by Weng Fanggang, Luo Zhenyu, Wu Hufan, Bo Xihe, Shen Yinmo, and others, Li Hongyi, Zhu Xiaozang, Wu Mei, Jiang Zuyi, Ye Gongqi, and others.
This book was collected by Ming Wang Wei (Meng Yang), Chen Bogong, Prince Qingcheng, King Rongjun, Pan Zuyin, etc., and then pan used it as a dowry for his niece Pan Jingshu, and returned to the collection of Wu Hufan, a modern person, and Wu's collection of Song Tuo'ou's book "Jiucheng Gong Liquan Ming", "Emperor Fu's Birthday Monument", and "Yu Gong Gong Wen Yan Bo Monument" is a box, known as "Four Ou Secrets", which is now stored in the Shanghai Library.
Since the original stone of the "Huadu Temple Stele" has been broken as early as the Tang or the fifth dynasty, the Dunhuang fragment may have been expanded shortly after the engraving between the fifth tang dynasty and the early Song Dynasty, and according to Wang Zhuanghong, the Dunhuang fragment "is actually a re-engraved version", so the "Si Ou Tang Ben" and the Dunhuang fragment are not a stone.
Calligraphy appraisal of the "Huadu Temple Stele"
The "Huadu Temple Stele" was written a year earlier than the "Jiucheng Palace", except for the slightly smaller font shape, the next pen, the pen, the pick or the twist, are carefully converged, so the two are shaped like cool portraits, the style is very similar, can be described as the ultimate of the rational norms of Ouyang Inquiry.
The calligraphy of "Huadu Temple Stele" is flat and clean, plump and pleasant, with a thin and strong pen, slender in the knot, and strict in the law, its magic lies in its rigor and meticulousness, the spirit is deep, it has the magic of the body square pen circle, there is a super-dust and unique overview, and it is impeccable in the performance of structural space, and it is also difficult for other calligraphers in the Tang Dynasty to compare. At the same time, the work of this stele is not reached by future generations, so it is called the Extreme Principle of Kaifa.
The "Huadu Temple Stele" is clear and stable, without the slightest disordered fluctuation, and the dot painting is powerful and meticulous, so it is not enough to be rigorous and stretched. But in terms of structure, it is unparalleled. However, the "Huadu Temple Stele" seems to be more condensed than the "Jiucheng Palace", which is where Yang Shoujing sees that it is more mellow than the "Jiucheng Palace".
Yuan Zhao Mengfu said of this stele: "Ouyang is the best at writing in Tang Zhenguanjian, and the "Yong Zen Master Ta Ming" is also the best." The Ming Dynasty Wang Shizhen even thought that this stele was "tight, deeply integrated with the magic of the square pen circle". Qing Yang Shoujing's commentary on "Xueshu Shu Yan" said: "The most mellow and ancient of the European books is the "Huadu Temple Stele" as the most brilliant." Kang Youwei's "Guangyi Zhou Shuangyi" said: "The "Huadu" originated from the ears of "Huifu Temple" and "Huifu Statue Record."" Guo Shangxian deliberately used the word "Yuanmu" in the "Fangjianguan Inscription" to distinguish it from Ouyang Yuan's other works.
In this work, Ouyang Qian's calligraphy has always had a northern calligraphy style, and there are not many remnants, but it shows a strong self-appearance. Judging from some of the characteristics of the pen, the later Liu Gongquan seems to have benefited from this monument.
Examine Ouyang Inquiry from the "Huadu Temple Stele"
The significance of the study of the structure of the italic method
The beauty of the book is in temperament, and it can be temperamental. "True to the form of dot painting, so that it turns into temperament." The Tang Dynasty people had a special study of the structure of the calligraphy, and because they specialized in structure, there were many calligraphers who were proficient in calligraphy. Even the cursive masters Zhang Xu, Huai Su, Sun Guoting, etc. have solid kaigong. Sun Guotingyun: "If the application is perfect, the rules are familiar with the mind, the natural tolerance and wandering, the intention is to write first, the flow is flowing, and the Han Yi god flies." With the restoration of the Confucian tradition of the early Tang Dynasty, Sun Guoting put forward the requirement of establishing rules and regulations: "Although the party of application is set by itself and the scale is set, the faith belongs to the present." Zhang Xu wrote the "Records of Langguan Stone Pillars", which is dignified and strict, and the rules are extreme, and this kind of calligraphy skills makes his calligraphy "strict to those who abide by the law, and those who are out of the law are the most indulgent".
In the development process of calligraphy art, people have always taken the beauty of lines as the essence of calligraphy, and the study of structural beauty seems to be relatively indifferent, until the emergence of Ouyang Qing in the early Tang Dynasty, the study of Chinese character structure and the construction of calligraphy space were not valued.
Ouyang Qing is very researched on the structure, and his "Teaching Tips" cloud: "Every pen must be in the circle, the strength of the force is heavy, and the concentration is quiet." When judging the word posture, the four sides stop evenly, the eight sides have, the short and long fit, the thickness and thin compromise, the heart and eye are accurate, and the density is respectful. Ouyang Qing thought that the Eight Laws could not yet include the dot painting of all words, so the gain was reduced to all of its nothingness, and he wrote the "Eight Tips", vividly and exhaustively describing the posture of the line pen.
At the same time, Ouyang Qian's "Thirty-Six Laws of Structure" is his research result on the spatial consciousness of calligraphy, summarizing the basic laws of the layout of calligraphy, and is the most detailed method of the Tang Dynasty on the conclusion of the body, which has become the criterion of calligraphy. Li Chun's "Eighty-Four Laws of Large Character Structure" in the Ming Dynasty and Huang Ziyuan's "Ninety-Two Laws of Interstitial Structure" in the Qing Dynasty were all developed on this basis.
Starting from the spiritual preparation before writing, the method of writing, the writing mood to the structural principles and the mastery of ink color, from the control of fat, thin and rigid, the principle of the overall layout to the essentials of various structures, etc., the method concisely and comprehensively summarizes the principle of writing the book. Especially for such as "stacking", "avoiding", "top wearing", "interspersing", "back", "covering"... The combination, displacement, deformation of different structures, the change of the same word, the writing of variant characters, and many other issues are explained concisely and clearly.
The contribution of Ouyang Inquiry's calligraphy structure to the construction of calligraphy space has always been valued by later generations. Chen Zhenlian commented on Ouyang Inquiry:
His success seems to reveal to posterity a strange style paradigm: on the one hand, he used neat and regular reins to trap the unbridled wild horse of the North Monument, which looks a bit like Li Siqin's transformation of the strange and land-like Golden Seal, which seems to be undesirable to the calligraphers; on the other hand, he took the line style of the North Monument on the regular structural tone, thus reflecting the sinister atmosphere similar to the Wei Monument, which in turn fascinated the calligraphers. His existence marked the true supremacy of the script in the history of calligraphy. ”
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