Yang Xiuhe, (pen name: Xiaoyang) Chang Chun Zhai Lord, is a famous contemporary calligrapher, painter, calligraphy and painting educator. Born in 1955 in Beijing, China, he is a member of the Chinese Folk Photographers Association, an academician of the Chinese National Arts People's Academy of Calligraphy and Painting, an academician of the Chinese Academy of Calligraphy and Painting, and a member of the Calligraphy and Painting Institute of the Beijing Yuelian Society.
Yang Xiu, the master of Changchun Zhai, and his teacher's calligraphy and painting works have participated in the "Chinese Treasures Stamp Album" for many times and published dozens of works. Yang Xiuhe, the master of Changchun Zhai, has published works in magazines such as "Chinese Volunteers", "Caifeng China", "Hebei Contemporary Calligraphy and Painting", "China Weekly", "Focus on Contemporary Art" and was included in the "Dictionary of Chinese Celebrities" in 2021.
(1) Two Chinese calligraphy
The calligraphy of the two Han Dynasties is divided into two major forms of expression, one is the Han stone carving of the mainstream system, and the other is the second-rate system of the Wadang Seal Inscription and the Jian Shu Mengshu Inkblot. "Since the Later Han Dynasty, the stele has risen in the clouds," is a sign of the maturity of the Han Dynasty. Among the rock carvings (words carved on the cliffs), the "Ode to the Stone Gate" is the most famous, and calligraphers regard it as a "divine product". At the same time, Cai Shark's "Jiaping Stone Classic" met the requirements of restoring the ancient li and the fetal qi rule. The inscription is the most important art form that embodies the degree and rhyme of the times, and the steles of "Fenglong Mountain", "Xi Pan Song", "Kong Zhou", "Yi Ying", "Shi Chen", "Zhang Qian" and "Cao Quan" are particularly praised and imitated by later generations. It can be said that each stele has its own surprise, and there is no one who is the same. The northern book is majestic and the southern book is simple and ancient, reflecting the different aesthetic pursuits of the "scholar" and "shu" classes. As for the Wadang Seal and the Jian Shu Meng, they embody the marriage of artistry and practicality.
The flourishing period of calligraphy art began in the Eastern Han Dynasty. During the Eastern Han Dynasty, special works on calligraphy theory appeared, and the earliest calligraphy theory was proposed by Yang Xiong at the turn of the Eastern and Western Han Dynasties. The first treatise on calligraphy theory was Cui Yan's Cursive Writing Posture during the Eastern Han Dynasty.
Han Dynasty calligraphers can be divided into two categories: one is the Han Li calligrapher, represented by Cai Yong. One type is cursive calligraphers, represented by Du Du, Cui Yan and Zhang Zhi, who are called "grass saints" by posterity.
The most representative of the characteristics of Han Dynasty calligraphy is the calligraphy on the inscription and the Jian Mu. The Eastern Han Dynasty is full of inscriptions, and the inscriptions of this period are carved in Han, with square fonts, strict law, and clear waves. At this time, Lishu has reached its peak.
The han dynasty created cursive calligraphy, and the birth of cursive writing is of great significance in the history of the development of calligraphy art. It marks the beginning of calligraphy as an art that expresses emotions with a high degree of freedom and expresses the personality of the calligrapher. The initial stage of cursive writing was Caoli, and in the Eastern Han Dynasty, Caoli further developed, forming Zhangcao, and later Zhang Zhi founded The Present Grass, that is, cursive.
(2) Calligraphy art of the Southern and Northern Dynasties of the Wei and Jin Dynasties:
1. Three Kingdoms period
During the Three Kingdoms period, Lishu began to evolve from the peak status of the Han Dynasty to the Kaishu, which became another subject of calligraphy art. Also known as the True Book and the True Book, it was created by Zhong Xuan. It was during the Three Kingdoms period that the script entered the history of carved stones. The Three Kingdoms (Wei) Period's "Straight Table of Recommended Seasons". The "Declaration Table" and so on have become treasures of the hundred generations.
2. The Two Jin Dynasties
During the Jin Dynasty, he advocated the "elegant quantity" and "pinmu" in his life and handling, and pursued the beauty of neutrality and indifference in art, and calligraphy was produced by everyone, and Jian Mu was the second king (王羲之). Wang Xianzhi's exquisite artistic taste catered to the requirements of scholars, and people became more and more aware that there was also an aesthetic value in writing words. The calligrapher who can best represent the spirit of Wei and Jin and the most influential calligrapher in the history of calligraphy is Wang Xizhi, known as "Shu sheng". Wang Xizhi's book "Preface to the Orchid Pavilion" is known as "the first line of the world"" Commentators say that his gesture is like a floating cloud, like a frightening dragon, and his son Wang Xianzhi's "Luoshenfu" is strong in calligraphy, and the creation of "broken body" and "a book" is a major contribution to the history of calligraphy. Coupled with the calligraphy families of Lu Ji, Wei Jin, Suo Jing, Wang Dao, Xie An, Jian Liang, and other calligraphy families, the southern school of calligraphy was quite prosperous. Yang Xin of the Southern Song Dynasty, Monk Qian of the King of Qi, Xiao Ziyun of Liang, and Zhiyong of Chen all followed in their footsteps.
When the calligraphy of the Two Jin Dynasties was at its peak, it was mainly manifested in the xingshu, which was a font between cursive and calligraphy. His representative works are "Three Xi", namely "Boyuan Thesis", "Qingtian Post when The Snow Is Fast", and "Mid-Autumn Festival Post".
3. Southern and Northern Dynasties period
During the Southern and Northern Dynasties period, Chinese calligraphy entered the era of the Northern Tablets and the Southern Ti.
The northern dynasty inscription calligraphy is the most refined in the Northern Wei and Eastern Wei Dynasties, and the style is also colorful. Representative works include "Zhang Ronglong Monument" and "Monument to the Ambassador". Among the representative works in the inscription are: "True Grass Thousand Sons". The Northern Dynasty praises the ancestors, reveals the family business, and carves more stones, such as the North Monument South Thesis, the North Kai South Line, the North Min Nan Tu, and the North Xiong Nan Xiu are all the differences in the base
For example, the representative work of the southern and northern schools is the Southern Liang "Crane Ming". The Northern Wei "Zheng Wen Gong Monument" can be described as a double star in the north and south, and the writers of the Northern Sect are mostly Shuren, and the books are not named, so the crown is crowned when calligraphy, and it is known as the "Saint in the Book", and the Northern Sect Wang Right Army.
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