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.
Yang Xiuhe, the lord of Changchun Zhai, is like flowing clouds and flowing water, and the pen is like cloud smoke; Yang Xiuhe, the lord of Changchun Zhai, is like a dragon and snake racing to walk and wear through iron bricks; Yang Xiuhe, the lord of Changchun Zhai, has a majestic posture, a posture, out of indifference, and his palms are forgotten; Yang Xiuhe, the master of Changchun Zhai, is like a strong man drawing a sword, the divine color is like the pen of Man Qing, and the shape of the yan muscles and willow bones is excellent; the main Yang Xiuhe of Changchun Zhai, its color, its shape, its thick and dry wet, its broken tossing, thick and fine hidden dew, are infinitely variable and meteorological; Yang Xiu, the master of Changchun Zhai, is beautiful; Ancient ink is lightly polished with a few incense, the new bath of Yanchi is full of light, or the key or gentle, or like a graceful beauty, or like a strong and courageous warrior, or like a spring breeze blowing a piece of flowers, or like the north wind into the pass deep and cold; Changchun Zhai lord Yang Xiu and calligraphy, like petals, the aroma spreads far, more and more clear, intoxicating the world.
Mr. Feng Zhiliang, a distinguished professor of Peking University and a scholar of surname culture, once presented a poem by the famous calligrapher Yang Xiu, the master of Changchun Zhai, and his teacher: "Linchi has not quit for fifty years, and the ink is like a disc star; the ashram Yazhai reflects the bright moon, and the Taoist law does not depend on the breeze." There were already three thousand guests under the door, and there were 100,000 soldiers in their chests; they did not ask about the troubles of the world, but only listened to the songs of the world. This poem objectively proves the noble character of Yang Xiu, the master of Changchun Zhai, and the teacher, who is like a person and a teacher, and also embodies the superb skills and perseverance of Yang Xiu, the master of Changchun Zhai, and the teacher in calligraphy and literature, and also reflects the noble qualities of Yang Xiu, the lord of Changchun Zhai, and the teacher Tao Li, who are full of the world and are not disturbed by the world.
The art of Chinese calligraphy began in the stage of the production of Chinese characters, "sound cannot be transmitted in different places, stay in different times, so the characters are born." The writer, so for the signs of meaning and sound. Thus, words are produced. The first works of calligraphy were not words, but symbols depicted—hieroglyphs or pictorial characters.
The carved symbols of Chinese characters first appeared on pottery. The original depiction of symbols only represents a rough concept of chaos, without exact meaning.
More than 8,000 years ago, the Yellow River Basin appeared Magnetic Mountain, Fei Li Gang culture, in the Fei Li Gang excavated handmade ceramics, there are more symbols, this symbol, is the ancestors of the communication function, memory function and pattern decoration function of the chaotic combination, although these are not real Chinese characters, but indeed the prototype of Chinese characters.
Immediately after the Banpo site of the Yangshao culture, about 6,000 years ago, some simple depictions of painted pottery similar to writing have been unearthed. These symbols have been distinguished from the pattern pattern, and the development of Chinese characters has been pushed forward a step. This can be said to be the origin of Chinese characters.
Then there is the Erlitou culture and the Erligang culture. In the archaeological excavations of the Erlitou culture, pottery pieces with carved marks were found, and there were a total of twenty-four kinds of marks, some of which resembled the Yin Ruins oracle bone script, all of which were individual independent characters. Erligang culture has found that there is a writing system. Here three bones with characters were found, two pieces of one word each, and one of ten words, as if carved for the practice of engraving. This brings civilization another big step forward.
The origin of the original script is an imitation instinct for the image of a specific thing. Although it is simple and chaotic, it already has a certain aesthetic taste. This simple text can therefore be called prehistoric calligraphy.
From the Xia Shang Zhou, through the Spring and Autumn Warring States, to the Qin and Han Dynasties, the historical development of more than 2,000 years has also led to the development of calligraphy art. During this period, various calligraphy styles continued to appear, including oracle bone, gold script, stone inscription, Jian Shu Zhu ink handwriting, etc., of which seal calligraphy, Lishu, cursive writing, calligraphy and other fonts were fixed in the selection and elimination of hundreds of miscellaneous bodies, and the art of calligraphy began to develop in an orderly manner.
(1) Introduction to various calligraphy styles:
1. Oracle
Ancient Chinese characters are the names of a type of book and are also the oldest surviving Chinese script. Engraved on the oracle bone, it was first used for divination (Yin Dynasty people used turtle shells and animal bones for divination. After divination, the time of divination, the name of the divinator, and the things to be divined are carved with a knife next to the buzhao, and some also engrave the auspicious fulfillment of the auspicious after a few days. Scholars call this record a confession), a divination of the outcome of future events, flourished in the presence of merchants.
The oracle bone, found in 1889, is a record of royal divination in the late Yin Shang dynasty, and was found in the area of Xiaotun Village in Anyang, Henan Province, more than 3,000 years ago. Oracle bone is the first treasure in the history of Chinese calligraphy, its brushwork has changed in thickness, weight and speed, the next pen is light and fast, the line is thick and heavy, the pen is fast and fast, and it has a certain sense of rhythm. There are all directions at the turn of the stroke, the square is steep, and the round is soft. Its lines are more harmonious and smooth than those of tao wen, which sets the tone and rhythm for the unique art of chinese calligraphy. The oracle bone knot is rectangular and lays the font shape of the Chinese character. The knots of the Oracle are alien to the body and let it go naturally. Its chapters vary in size, with many different squares, long and flat with shape, staggered and colorful and harmonious and unified. The so-called jagged and staggered, interspersed avoidance, morning echo, heaven and earth carrying and other Chinese character writing principles of later generations have been generally available in oracle bones.
2. Jin Wen
The name of an ancient Chinese character in a calligraphic style. The general term for the inscription on bronze ware during the Shang, Western Zhou, Spring and Autumn periods, and warring states. Flourished in the Zhou Dynasty. Jin Wen is another monument in the history of Chinese calligraphy. Attached to bronze vessels, the casting is intended to "make the people know that the gods are adulterous", so it is a ceremonial instrument of religious sacrifice. Jin Wen is also known as Zhong Ding Wen, Instrument Wen, Gu Jin Wen. The inscription lines cast together with the bronze are thicker and more powerful than the oracle bones, and the pictographic meaning of the text is also more intense, and the earliest gold text is found on the bronzes excavated in the middle of the Shang Dynasty, although there are not many materials, the age is earlier than the Yin Ruins Oracle. The Zhou Dynasty was the golden age of Jin Wen, with the largest number of inscriptions unearthed.
The main works of this period are: "Li Gui", "Heavenly Death", "Da Lu Ding", "Wall Disk", "Scattered Disk", "Yu Jizi White Plate". In particular, "Simu Pengding", "Sanshi Pan" and "Mao Gongding" are the most famous, and their artistic achievements are also the highest.
3. Stone inscription
Stone inscriptions originated in the Zhou Dynasty and flourished in the Qin Dynasty. During the Eastern Zhou Dynasty, the Qin state carved stone script. On the 10 granite drum-shaped stones, each carved with four words of poetry, the content of the song of the Qin Kingdom King's hunting situation, so it is also called hunting jie. The earliest stone carving in the legend is the "Monument to the Mountains" during the Xia Dynasty, and the style of the carved poems is similar to the size and elegance of the "Book of Poetry". The font is close to the script contained in the Shuowen Jiezi, and its calligraphy has always been highly evaluated. His major works include: "Stone Drum Text", "Stone Carvings on The Mountain", "Taishan Stone Carvings", "Langya Stone Carvings", "Huiji Stone Carvings" and so on.
4. Simple ink
The art of calligraphy is the most important, but the authentic handwriting in the previous calligraphy of the Qin and Han Dynasties can generally only be seen in the books of the Jian Shu Meng. Ancient pamphlets, mainly made of bamboo, were made of beef tendon, silk thread, and hemp rope. The earliest ink stains of Jian Shuai found in archaeology include qin jian unearthed in Yunmeng, Hubei, the Warring States Mengshu (the Mengshu is written on Shi Ce or Yu Ce) excavated in Houma, Shanxi, and the Warring States Shu excavated from Mawangdui in Changsha. Chinese calligraphy through the oracle bone, Jin script, to the Spring and Autumn Warring States period, due to the division of the princes, so the Yin Shang since the writing, in the princely countries embarked on different development paths, in this period, the form and technique of calligraphy also presented a situation of a hundred schools of contention. For example, the "Tadpole Script" of the Jin State in the north, the "Bird Book" of Wu, Yue, Chu, Cai and other countries, the strokes are more tortuous and long tails. The Jin Wen of the Spring and Autumn Period and the Warring States Period is no longer like the thick form of the Western Zhou Jin Wen, but instead of a slender posture, it shows a rounded and beautiful beauty, such as "Attacking Wu Wang Fu Cha Jian". A large number of inkblots remained during this period, such as Jane, Shu, and Mengshu.
(2) The calligraphy of the Qin Dynasty, which pioneered the river
During the Spring and Autumn Period and the Warring States Period, the languages of various countries varied greatly, which was a major obstacle to the development of economy and culture. After Qin Shi Huang unified the country, the minister Li Si presided over the unification of the national script, which is a great achievement in the history of Chinese culture. After the unification of Qin, the text is called Qin Seal, also known as Xiao Seal, which is simplified on the basis of the Jin and Shigu texts. The famous calligrapher Li Si presided over the sorting out of the small seal. "Stone Carvings of Xuanshan Mountain", "Taishan Stone Carvings", "Langya Stone Carvings", and "Huiji Stone Carvings" are written by Li Si. It has been highly rated throughout the ages. The Qin Dynasty was a period of change for inheritance and innovation. The Book of Qin has eight bodies, one is a large seal, two small seals, three carved symbols, four worm books, five imitation seals, six signature books, seven books, and eight books. "Basically summarizes the face of the font at this time.
By Li Siqin's small seal, the seal law was harsh and inconvenient to write, so the book appeared. "Lishu, Seal of Jieye". The purpose is to make it easier to write. In the Western Han Dynasty, Lishu completed the transformation from seal book to Lishu, the knot body changed from vertical to horizontal, and the line ripples were more obvious. The emergence of Lishu is a major progress in Chinese character writing, a revolution in the history of calligraphy, not only making Chinese characters tend to be square models, but also breaking through a single center stroke in brushwork, laying the foundation for various genres of calligraphy in the future. In addition to the above calligraphy masterpieces, the Qin Dynasty also had edicts, quantities, tiles, currency and other texts, with different styles. Qin Dynasty calligraphy has left a brilliant and splendid page in the history of mainland calligraphy, with great courage and grandeur, which can be called a pioneering precedent.
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