The modified brushwork and sources of chu suiliang's calligraphy
When commenting on Chu Suiliang, Li Sizhen believed that "Chu Shilin wrote about the Right Army, which is also tall, richly carved, and prosperous today, but hates nature, and is diligent and diligent." Among them is worth noting the word "carving", the word "carving", the "Book Gu Ming": "carving jade is still a few," Kong Chuan: "carving, carving," and, "Chu Ci Summoning Soul": "carved black teeth," Wang Yi note: "carving, painting also." "Engraving" character, "Shuowen Daobu": "Engraving, skeletonization," "Guangya Interpretation IV": "Engraving, painting also." According to the above two words "carving" and "carving", both have the meaning of engraving and painting. Yang Yanzhi's "Luoyang JialanJi" describes the Buddhist hall of Jingle Temple with the phrase "ingenious carving, crown for a while", which is aimed at the gorgeous and exquisite decoration of the building. That is, "carving" has a distinctly decorative meaning. It can be extended to the deliberate modification of Chu's brushwork, which is characterized by complexity and decoration.
So, where does Lee's so-called "carving" manifest itself? It can be found from the figure that Chu's deliberately modified brushwork is mainly reflected in the starting and closing position of the stroke and the turning hook pick, which is different from the brushwork of the Southern Dynasty.1 It can be said that the small characters of the Southern Dynasty are natural writing, and the penmanship is natural and flexible, while the Chu large characters have a lot more movements at the beginning and closing of the pen and the turn, and the penmanship is complex and the writing is slower. By comparison, we believe that this kind of writing is the inscription we mentioned in the second section of the first chapter of this article. That is to say, like Ouyang Qian, Chu Suiliang also inherited the Northern Dynasty tradition in the brushwork of the inscription stone body. Regarding the formation of the inscription stone body brushwork, the above discussion has been discussed in detail, and this is not repeated.
The thinning characteristics and sources of Chu Suiliang's book
When zhang Huaihuan's "Book Break" evaluated Shi Ling, he believed that Shi Shi's book was "ancient and straight, and it hurts thinness". There is a phrase "ancient and now beautiful" in the "Book Genealogy", so what "ancient" refers to should be the simplicity of its overall style. "Straight" can be understood as Shi Ling's stroke morphology has less variation and the form is more straight. And "thin" we can think of the width of the knot body, "thin" is for the fine strength of the stroke. However, how it is in its specific form, since there is no work in ShiLing that has been handed down, we cannot confirm it. However, the Chu Mingshi Book was studied under the Northern Dynasty scholar Shi Ling, so we can try to find information from Chu Suiliang's works.
Through the observation of Chu Suiliang's heirloom works, we find that the strokes with the characteristics of ancient straightness are the "Yin Que Buddha Shrine Stele" and the "Meng Master Stele", while the late "Fangliang Gong Stele" and "Yanta Sacred Order" have more changes. With the characteristics of "thinness", except for the "Monument of Master Meng", which is not very obvious, other works have significant "thin" characteristics. The reason why the "Meng Mage Monument" is not obvious, the author thinks it is likely to be due to the small number of words. In other words, "thinness" is a feature that runs through Chu Suiliang's life. If we expand our horizons, we will find that most of the calligraphy on the early Tang Dynasty inscriptions also have the characteristics of "thinness". The chu tang dynasty is written in all 1089 by the Chu clan, which may be a reason, but more importantly, the influence of the ethos of the times. That is to say, Chu is also a product of the development of the times. The early Tang Dynasty scholar took the Fa Chu clan, on the one hand, because the Chu clan official was prominent and his calligraphy was outstanding, but more importantly, he was in line with the atmosphere of the times and had obvious "thin" characteristics. So, when did this "skinny" trend arise?
The Sui Dynasty already had this style, such as the "Monument to longzang temple" and "Weifu Niangzhi", but its earlier origins should also lie in Northern Qi. The "Guangyi Zhou Shuangyi" has repeatedly mentioned the thin form of the Northern Qi stele carving: "The Hanging Bi Ganwen is thin and steep, and its origin is absolutely distant... His descendants flourished in Qi, and he saw hundreds of statues of Qi monuments, all of them were thin and hard, almost like the study of yin and yang, accounting for the late Ming Dynasty", "Qi monuments are only thin and hard", "Northern Qi monuments, the rate is thin and hard, the same, there are few similarities". We can see that the "skinny" atmosphere first prevailed in Northern Qi, and this style accounted for most of the Qi Dynasty inscriptions. Although the Northern Wei Also had a thin and steep wind (such as the Hanging Bi Ganwen), it did not dominate, but this atmosphere of Northern Qi affected the Sui Dynasty, and then affected the Early Tang Dynasty, and was popular in the nearly one hundred years of the Early Tang Dynasty.
The "sparseness" of the early Tang Dynasty calligraphy is caused by "thinness" on the one hand, and on the other hand, it is due to the characteristics of its knot body "flat painting wide knot". The strokes are flat and thin, which will lead to the characteristics of "sparseness". "Chu Henan's Monument to the Yi que Buddha Shrine ... All are eight points of the will, "under the arrest of the Tang Dynasty, the Yin Que Buddha Shrine" and the "Daoyin Monument" still exist and belong to the will." The author believes that Kang's statement that Ouyang Tong has a subordinate meaning refers to the fact that his strokes have a clear form of Lishu, while Chu's liberties should refer to the characteristics of his "flat painting and wide knot", which is in line with the characteristics of the knot of Lishu.
Like the characteristics of "thin and hard", "wide knots" is an important change in the late Northern Dynasty, especially the Northern Qi inscriptions, which is an important feature different from the Northern Wei. This style developed through the Zhou Sui and Tang dynasties. That is to say, the characteristics of Tang Chuping's paintings with wide knots originated from the new style of writing in the late Northern Dynasty. Here the author would like to further investigate, that is, why did the "flat painting and wide knot" calligraphy, which did not occupy a major position in the Northern Wei Dynasty, rise and popularize in Northern Qi?
This should start with the political changes in the Northern Wei Dynasty. As we all know, the Six Towns Rebellion was a turning point in the decline of the Northern Wei Dynasty, and as to the cause of this turmoil, Mr. Chen Yinke believes that it is the Hu people's resistance to the Sinicization policy. He believes that the Rebellion of the Six Towns caused "a major blow to Wei Xiaowen's sinicization policy after he moved the capital to Luoyang, and reversed it to Huhua." The "Heyin Massacre" that occurred in the first year of Wutai dealt a major blow to the Han scholars. This led to a great regression in the degree of Sinicization in the late Northern Wei Dynasty, and at the same time, The rise of Hu customs and the scorn of Han culture.
We know that compared with the calligraphy of the Pingcheng period, the tightly knotted form of the Luoyang oblique painting is undoubtedly more beautiful. This change should be related to Xiaowen Dili's promotion of Sinicization and learning from the Southern Dynasty. In the cultural environment at that time, Yanmei represented the advanced degree of culture, and the Sinicization of Emperor Xiaowen naturally reflected the tendency to go from quality to Yan. The above-mentioned political changes interrupted this process, and Sinicization was resisted. In turn, the social atmosphere has changed, and further affected people's understanding and aesthetics. In this case, in line with the tendency of "anti-Sinicization", the style of writing in this period also abandoned the more beautiful, obliquely painted and tightly knotted Luoyang body, and turned to retro. Therefore, the author believes that the rise of the Northern Qi Lishu and the prevalence of the Pinghua Kuanjie Calligraphy should be related to the reaction to Sinicization caused by political changes. Moreover, this trend was further expanded and continued, affecting the Sui and Tang Dynasties, determining the trend of the book style for a long time.
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