Yang Xiuhe, the master of the famous calligrapher Changchun Zhai: From the Song Dynasty to the Ming Dynasty, the reform and innovation of Chinese calligraphy in the past eight hundred years

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) Calligraphy of the Song Dynasty:

Song Dynasty calligraphy is still intentional, which is caused by Zhu Da's advocacy of science, and the connotation of meaning contains four points: one philosophical rationality, two-fold book volume qi, three-fold stylization, four-fold artistic expression, and at the same time mediate the individualization and originality in calligraphy creation. If the Shangfa of the Five Dynasties of the Sui and Tang Dynasties is the embodiment of seeking ''work', then after the expiration of the Song Dynasty, calligraphy began to appear in front of the world with a new face of Shangyi lyricism. This is to say that in addition to having the two levels of "natural" and "kung fu", the calligraphers also need to have "knowledge", that is, "book volume qi", and the four families of the Northern Song Dynasty changed the appearance of Tang Kai. Directly Jin Ti Xing Shu Legacy.

Cai Xiang, who is both talented and Su Dongpo, who is self-innovative, or Huang Tingjian, who looks up to the ancients, and Mi Fu, who is dangerous and dangerous, all strive to show a novel and unusual posture while expressing their own calligraphy style, so that the atmosphere of learning is depressed between pen and ink, and gives people a new aesthetic mood, which Wu said in the Southern Song Dynasty. ZHAO Tuo. Lu. Fan Chengda, Zhu Xi, Wen Tianxiang and other scholars were further extended, but the knowledge and pen and ink skills of the Southern Song Dynasty scholars could no longer be compared with the four northern Song dynasties. The representative figures of the calligraphers of the Song Dynasty are Su, Huang, Mi and Cai.

(2) The Art of Calligraphy in the Yuan Dynasty:

At the beginning of the Yuan Dynasty, the economic and cultural development was not large, and the general situation of calligraphy was to advocate retro, patriarchal Jin, Tang and less innovative. Although politically the Yuan Dynasty was ruled by foreign nationalities, it was culturally assimilated by Han culture, which was different from the Song's informal artistic pursuit, the meaning of the Yuan Dynasty was expressed as the pursuit of open-ended beauty of deliberately seeking work, so Su Shi flaunted that "I cannot write the intention of making the book", and Zhao Meng advocated that "it is not easy to use the pen for eternity" The former pursues the meaning of the intention, and then emphasizes the meaning of intention. The core figure in the Yuan Dynasty's book world was Zhao Mengqian, who founded the "Zhao Body" and the Tang Kai's European Style.

Face body. Liu body and called the four body, became the main calligraphy of the descendants, because Zhao Mengqian's calligraphy ideas definitely did not exceed the two kings, so his calligraphy has a unique understanding of the essence of Wang Pai calligraphy, expressed as "gentle and leisurely" and "Xiuyan flowing" style, which also believes in Buddhism. Aesthetic tendencies towards a flowing detachment have a certain connection to the attainment of a kind of spiritual liberation. Also famous in the Yuan Dynasty book world is Xian Yushu, Deng Wenyuan, although his achievements are not as good as Zhao Mengqian, but also in the style of calligraphy also has its own unique features. They advocate the same method of calligraphy and painting, and pay attention to the posture of the knot.

Looking at the calligraphy of the Yuan Dynasty, the characteristics of Yuan Dynasty calligraphy are "Shanggu Zun Ti", and its great achievements are still in the cursive writing. As for the seal, although there are several famous artists, they are not very good. This kind of calligraphy, which is mainly based on line and cursive, developed into a change in the Qing Dynasty. There is a Yuan dynasty style of writing, still along the Song Dynasty to flourish in the study of the thesis, Zong Tang Zong jin, although each has its own wonderful, but also can not stand in the book world with a family of law, compared to literature, painting and other art disciplines, it is still much more snubbed and unsuccessful.

(3) The Art of Ming Dynasty Calligraphy:

The development of calligraphy in the Ming Dynasty manifested itself in three stages:

1. The first stage - the beginning of the Ming Dynasty

At the beginning of the Ming Dynasty, calligraphy "one word is the same" and "Tai Ge style" prevailed. The Shen Du Xuecang brothers pushed Xiao Kai to the extreme. "All gold plates of jade books, used by the imperial court, the secret house, the promulgation of the country, the book of destiny", Ershen calligraphy was pushed as the keju kai rule. At the beginning of the Ming Dynasty, calligraphers included Liu Ji, who was good at cursive writing, Song Luan, who was good at cursive writing, Song Sui, who was a fine seal, and Zhu Ke, a famous zhangcao artist who was famous all over the world. And Zhu Yunming, Wen Huiming, and Wang Pet "Three Sons".

2. The second stage - MingZhong

In the middle of the Ming Dynasty, the four schools of Wuzhong rose, and calligraphy began to develop in the direction of Shangshi. Zhu Yunming, Wen Zhengming, Tang Yin, and Wang Pet's four sons went up to the Jin Dynasty and Tang Dynasty according to Zhao Meng, taking the Fa Mi Gao; the tone of the pen was also unique, which was related to the pioneering and emancipation of ideological concepts at that time, and calligraphy began to enter a new realm of advocating individualization.

3. The third stage - the end of the Ming Dynasty

In the late Ming Dynasty, a critical trend of thought arose in the book world, and the pursuit of large scales in calligraphy, the visual effect of oscillation, the flanking of the momentum, the horizontal painting and vertical smearing, and the smoke cloud of paper began to disintegrate; these representative calligraphers included Zhang Ruitu, Zodiac Zhou, Wang Duo, Ni Yuanrui and so on. Dong Qichang, the military commander of the Thessalonian Temple, still adhered to the traditional position.

At the end of the Ming Dynasty and the Qing Dynasty, the main tide of aesthetics took lyricism and reason as the banner, the pursuit of individuality and the development of rationality combined with each other, orthodox classical aesthetics and different new aesthetics flourished. The general tendency of qing dynasty calligraphy was shangqing, which was divided into two major development periods: theology and epigraphy.

The wandering pen and ink of the late Ming Dynasty book world, wild and not. The atmosphere of cynicism was further extended in the early Qing Dynasty, and the works of Zhu Fushan and others still show the inner life of the self and an unstoppable expression of emotions. This point is reproduced again in the middle of the "Yangzhou Eight Monsters". At the same time, the late Ming Dynasty's Thesis system was further developed at the same time, and Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi, Liang Tongshu Weng Fanggang and others tried to show a new look when deliberately respecting tradition, or writing in light ink, or changing the structure of the chapters. However, due to the long period of inheritance of Thessalology, it has not been well cleaned up, understood, adjusted, and some accumulated shortcomings have also deepened, which has inevitably made the decline of Thessalology inevitably appear.

At this time, the golden stone was unearthed day by day, and the scholar turned from being keen on the ruler to engaging in the study of the golden stone examination, and for a while inside and outside the government, the study monument was rushed to the top, and finally became the democratic stream of the Qing Dynasty's book world, plus Ruan Yuan, Bao Shichen. Kang Youwei vigorously advocated that epigraphy existed as a system of calligraphy that competed with the theology. At that time, famous calligraphers such as Jin Nong, Deng Shiru, He Shaoji, Zhao Zhiqian, Wu Changshuo, Zhang Yuzhao, Kang Youwei, etc. all wrote and painted with inscriptions, achieving the fullest degree of reason. Brilliant and dazzling situation. It can be described as a landscape of Chinese calligraphy culture. If the desire of the theists to find quality was not fulfilled, then this wish was fulfilled in epigraphy.