The reason why Qing Dynasty calligraphy, especially the calligraphy of the late Qing Dynasty and the beginning of the Ming Dynasty, is considered to be one of the peaks of the historical development of Chinese calligraphy, and its greatest representative achievement is the proposal of the epigraphical theory caused by the Examination of Jinshi, and the creation in practice, which opened up another calligraphy system in addition to traditional theology.
Just as the unique aesthetic paradigm of calligraphy created by Yan Zhenqing has become another aesthetic main line that has developed in parallel with the Two Kings system, its significance is landmark. In the Qing Dynasty, many epigraphical calligraphers emerged, and almost all of them took Yan body calligraphy as the main foundation to carry out the innovative practice of epigraphy and the "integration of steles". In the Qing Dynasty, the Yan style book system from Fu Shan entered a climax, and these scholars added fresh connotations to the Yan body book system. Let's take a look at the relevant calligrapher of the Qing Dynasty based on Yan body calligraphy: Fu Shan
Fu Shan's "Bamboo Rain Tea and Tobacco Lian" Axis On Paper 225×44cm×2 Collection of Shanxi Jinci Museum
Fu Shan (1607-1684), a relict calligrapher who had a great influence in the early Qing Dynasty, although the calligraphy was wild and informal, refusing to be depicted in details, but the bones of the face and body were clear.
From the personality spirit to the calligraphy, he personally inherited Lu Gong's style, and said in his self-description of his experience in learning books: "Finally, lu gong's "Family Temple" was slightly fragmented. And back to "Contention for the Seat", quite similar. As for its famous "Four Nings and Four Wus" theory, it is even more in line with Yan Shu's temperament. In the "Eight Monsters of Yangzhou" in the transition period of Thessalology, Jin Nong and Zheng Xie, who have the most innovative and distinctive personalities in calligraphy, also have obvious Yan family law. Kinnon
Jin Nong's (1687-1763) kaishu first learned Yan Zhenqing, characterized by humble and simple Mao, and his writing was straight and blunt, simple and unpretentious, and the glyphs were staggered and scattered. Zheng Xie
Zheng Xie (1693-1765) calligraphy combines seal, li, kai, and xing in one furnace, with a strange face, and is particularly powerful in the Song Dynasty Su Shi and Huang Tingjian, while Su Shi and Huang Tingjian belong to the Yan calligraphy family.
Liu Yong
Although Liu Yong (1719-1804), who is known in history as the "Cheng of Ji Ti Xue" (Kang Youwei), began with Zhao and Dong, the generosity and fertility of his writings undoubtedly came more from Yan Zhenqing. Its bones and bones are calm and contained, which best reflects the wonderful style of "wrapping iron in cotton". Liang Tongshu
Liang Tongshu (1723-1815) was good at practicing Kai, initially learning the Yan and Willow pen methods, and in middle age, he used the method of rice fu, and in his later years he entered the realm of changing nature, and his reputation did not fade for 60 years. Weng Fanggang
Weng Fanggang (1733-1818), together with Liu Yong, Liang Tongshu and Wang Wenzhi, was collectively known as the "Four Great Calligraphers". His calligraphy first learned Yan Zhenqing, and then turned to Ouyang Zhenqing. Qian Feng
Qian Feng (1740-1795) learned Yan, in the script of the perfect shape of the gods, was praised as "Lu Gong Hou one", his writing is also from a school of Yan bones, Qian Feng based on Yan Zhigangjian, strive to chase the qi and simple wind, in the "masculine atmosphere" there is a glorious Yan body to write. Yi Bingshou
Yi Bingshou (1754-1815) entered the Lu Gongtang Ao with the Yan Zhenqing Kai method, and the xingshu also integrated its subordinate law, and entered the Lu Gongtang Ao with the straightforward seal pen method. Yi Bingshou had a special love for Yan Zhenqing's writing, and had the ability to specialize in his "Liu Zhong's Envoy" all the way, and combined Yan Zhenqing with Li Dongyang to explore the strange features of thin and tight knots and loose flow of body posture. He Shaoji
In the Qing Dynasty, the person who exerted the most effort to write to Yan Zhenqing was He Shaoji (1799-1873). "Zizhen takes Yan Pingyuan as his sect, and his writings are like a mess and unpredictable." Zhao Zhiqian
Zhao Zhiqian (1829-1884), who lived in the same year, learned poetry and literature, and his calligraphy and painting seal carvings were first-class. Zhen Xingshu first taught Yan Zhenqing, and later specialized in the North Monument, with extremely deep kung fu and calm and vivid.
Weng Tonggong
At the end of the Qing Dynasty, Weng Tonggong (1830-1904) was an old calligrapher, strong and graceful, subtle and simple, and quite the essence of Yanshu. Weng Tonggong learned Yan, and Guineng gathered the strengths of Liu Yong, Qian Feng, and He Shaoji, not only maintaining the thickness and breadth of Yan, but also increasing the rigidity and simplicity. Kang Youwei
Regarding the origin of Kang Youwei's (1858-1927) study, Mr. Sha Menghai said: "He is good at making big characters, although because of his broad intentions, his posture is purely from Wang Yuan (there are also a few Yan characters), and everyone can see it." ...... Kang's simultaneous participation in Yi Bingshou's writings can be said to be very clever.
Yi originated from Yan Zhenqing and absorbed the penmanship of The Seal on its basis. "We can clearly see Yan Zhenqing's shadow from Kang Youwei's "Examination of the Temple" and early works. In fact, for a considerable number of calligraphers in the Ming and Qing dynasties to take Yan body calligraphy as the foundation of calligraphy, or to borrow a lot of the essence of Yan body calligraphy in calligraphy creation, it is a very normal phenomenon, and it is not surprising. However, since the rise of epigraphy, those who have boldly entered the camp of epigraphy in concept and even in practice, and have made great achievements, are almost all Yan scholars, which is a very valuable problem of book history.
It illustrates at least two points: one is that there is a certain relationship between Yan body calligraphy and stele calligraphy, and the other is that the integration and transition of Yan body calligraphy and stele calligraphy is relatively convenient.