Italics are also known as the main book and the true book. The "楷" in 楷書 is the meaning of exemplary. In the Tang Dynasty, Zhang Huaihuan's "Book Break" said: "Kai, Fa ye, style also mo ye." This means that the script is a body of writing that can be used as a model. Originated in the late Han Dynasty, it absorbed the advantages of a well-proportioned and clear structure of the Lishu, changed the wave of the Lishu to straight, changed the flatness of its shape to a square, and formed a horizontal and vertical "square character", becoming the most popular book style of the Chinese people.
This exemplary role also affects human morality. The ancient Chinese people have always emphasized that "people are people before writing" and "people are correct and correct", in the view of Confucianism, the solemn and neat and generous calligraphy of Fangzheng has gone beyond the meaning of calligraphy itself, and has been given the personality symbol and behavior constraint of "gentleness and thickness".
Three Kingdoms Zhong Xuan "Declaration Table" single character style
Italics was used as a standard font around 1800. In terms of its types, it is divided into Xiao Kai, Zhong Kai, Da Kai and Bang Shu; in terms of its evolution, it has experienced four periods: Li Kai, Jin Kai, Wei Kai and Tang Kai, marking the budding, maturity, development and prosperity of the Kai Shu respectively. As an extremely important calligraphy body, it has also carried the spiritual outlook and cultural integrity of each era for 1800 years.
01
Li Kai | fresh, ancient, full of beauty
Kaishu was born in the late Han Dynasty, and the early Kaishu still retains the meaning of Lishu, so it is called "Likai". Zhong Xuan, a calligrapher of the Three Kingdoms at the end of the Han Dynasty, was the founder of the Kaishu, who concentrated the square, straight, simple and easy-to-write elements of the popular folk Lishu, replaced the silkworm head and goose tail of the Lishu with the horizontal and stroke strokes of the Kaishu, and added some circular strokes in the seal and cursive, so that the Kaishu was initially fixed and was respected by later generations as the "ancestor of the Zhengshu".
Three Kingdoms Bell Inscription of the Declaration Table. Collection of the Palace Museum.
Representative Zhong Xuan is the "Declaration Table", "He Jie Table", "Recommendation Season Direct Table", and the "Letter of Letter" stamp issued by the mainland in 2007, the first stamp is the "Declaration Table". The "Declaration Table" has a total of 18 lines, the font is wide and flat, and it still retains the penmanship and posture of the lishu, but the italic method has begun to take shape between the dot paintings. Because it is in the process of transmutation from subordination to Kai, it naturally exudes a fresh and simple, ancient interest and a distant atmosphere from the seal and the li.
Zhong Xuan and the "Book Sage" Wang Xizhi are called "Zhong Wang". Wang Xizhi's calligraphy was self-defending, and Lady Wei was taught by Zhong Xuan, and Zhong Xuan's position in the history of Chinese calligraphy can be seen here.
02
Jin Kai | Qingya, Yanmei, Junyi
The Jin Dynasty followed the Han and Wei Yufeng, and the Kaifa gradually matured. The father and son of Wang Xizhi and Wang Xianzhi of the Eastern Jin Dynasty increased and lost the ancient law, boldly innovated, got rid of the stagnant heavy pen since the Han and Wei Dynasties, and transformed the horizontal body posture similar to the Lishu in the Zhong Shu Kai into a square long body posture, creating a new style of YanMei Junyi. Wang Xizhi's Huang Ting Jing, Le Yi Theory, Cao E's Stele, and Wang Xianzhi's LuoshenFu established the aesthetic stereotype of the Book of Letters for later generations.
Wang Xizhi Xiaokai's "On Le Yi"
"Jade Edition Thirteen Lines", its treasure is better than Yu Ang
Wang Xianzhi's Xiaokai "LuoshenFu" is a famous passage by the Three Kingdoms literary scholar Cao Zhi. The original trace is a hemp note book, which was damaged by the Song Dynasty, and the Southern Song Dynasty Quan Xiang Jia Xiang Dao first obtained nine lines, and then continued to get four lines, carved on a jade-like stone, known as the "Jade Edition Thirteen Lines". Later Shi Yan, during the Ming Dynasty, was restored at the old site of Geling Banxian Hall in Hangzhou's West Lake. During the Kangxi Dynasty of the Qing Dynasty, after the Eight-Nation Alliance captured Beijing, this stone flowed into the people, and after the founding of New China, it was purchased by the state and is now stored in the Capital Museum.
"Roselle Endowment" has beautiful and rounded strokes, and the knots are scattered and relaxed, and gu pan has a good look, and is known as "Xiao Kai Ji Ze". Its calligraphy no longer has a subordinate meaning, and the glyph has changed from horizontal to vertical, which is already a relatively mature calligraphy work.
The Eastern Jin Dynasty King's "Thirteen Elements of Roselle Endowment". Collection of the Capital Museum.
"Cuan Bao Zi Stele", also Kai Yi Li
The Jin Dynasty was the transition period from lishu to kaishu, and the old and new were mixed, and kai li was referred to: some were subordinate to the body, and the reference was to the kaifa, which was more than the kai; some were in the kai as the body, leaving the li intention, and the kai was more than the subordinate; some were mixed with the kai, and the kai was also subordinate, such as the "Cuan Bao Zi Stele", which is known as the "Treasure of the Southern Stele".
"Cuan Bao Zi Stele" Takumoto. The rough stone is now in Qujing, Yunnan.
The "Cuan Baozi Stele" was carved in the fourth year of the Eastern Jin Dynasty (405, actually the first year of Yixi), and was erected for the cuan clan, the leader of the ethnic minorities in the border areas of Yunnan, to imitate the Han system. The font is between Li and Kai, and some horizontal paintings still retain the wave pick of Lishu, but the knot body is neat and almost inscript, and Kang Youwei commented that "Duan Pu ruo ancient Buddha's appearance". The time of its erection is only a few decades after Wang Xizhi's death, but it is very different from Wang Xizhi's elegant and handsome style of writing.
03
Wei Kai| Park Mao, Xiong Qiang, Junmai
The script replaced the Lishu as the orthography during the Southern and Northern Dynasties. Due to the division between the north and the south, calligraphy is also divided into two schools, the north and the south. Northern school calligraphy, like han li relics, ancient clumsiness and integrity, simple and strong calligraphy, longer than the stele; southern school calligraphy, for the "two kings" a vein, more sparse and wonderful, beautiful and elegant, longer than the ruler; according to incomplete statistics, there are thousands of kinds of north stele, such as "Longmen Twenty Pins", "Zhang Xuan's Epitaph", "Zhang Ronglong Stele", "Zheng Wen Gong Monument" and so on. The Southern Dynasty banned monuments, the only surviving inscriptions are "Cuan Long Yan Stele", "Crane Inscription" and dozens of others. The northern and southern dynastic stele plates are mainly Based on Wei, so they are collectively called "Wei Steles".
Zhang Xuan's epitaph, warm and moist
The Epitaph of Zhang Xuan was inscribed in the first year of the Northern Wei Dynasty (531). The tomb advocates Xuan, the character black (hè) female (rǔ), the Qing Dynasty to avoid the Kangxi Emperor Xuan Ye secret, renamed "Zhang HeiNu Epitaph". The knot body is flat and square, and it is more than a reference. It not only has the handsome atmosphere of the North Monument, but also contains the gentle beauty of the Southern Tablet; it not only inherits the charm of the Northern Wei Dynasty, but also opens the tang Kai law, and has both beauty, which can be called the best in the Wei Monument. Unfortunately, this rough stone has long been lost, and the existing old Takumoto is an isolated copy in The Sea. Zhang Xuan's Epitaph is nearly 1500 years old, but its veins are in your pocket. The "formula" on the second to fifth set of renminbi that everyone is familiar with belongs to the "Zhang Black Female Body". These 6 characters were inscribed by Mr. Ma Wenwei in 1950, which is a variation of the Han Li and Wei Monuments. Compare the "line" character in the epitaph, is it a form of god forced Xiao?
Northern Wei "Zhang Xuan's Epitaph" Expanded. Collection of Shanghai Museum.
Zhang Ronglong Monument, Sui Kai pioneer
The "Zhang Ronglong Monument" is known as "the first Wei Monument", and the Ming Dynasty epigrapher Zhao Kun commented: "The zhengshu Qiujian has opened the door of Europe and Yu." "Its pen completely got rid of the traces of Lishu and opened the precedent of Sui and Tang Kaishu."
Northern Wei "Zhang Ronglong Monument" expanded. The rough stone is now in Qufu, Shandong.
04
Tang Kai | prosperous temperament, zhengda weather
After the Sui Dynasty unified China, the calligraphy was mixed between the north and the south, which not only absorbed the southern Qing jin xiuyi calligraphy, but also integrated into the northern park mao xionghun atmosphere, and the Longzang Temple Stele, the Dong Meiren Epitaph, and the Zhiyong "Thousand Character Text" were very close to the Tang Dynasty. In addition, the "Eight Laws of Yongzi" and Zhiguo's "Ode to the Heart" passed down as Zhiyong established the laws for the theory of the pen and the theory of structure.
Mixed with the north and south, Tang Kai took the lead
The "Tomb of Dong Meiren" was excavated during the Qing Jiaqing period, and the rough stone was destroyed by soldiers in 1853. Dong Meiren was the concubine of Yang Xiu, the fourth son of Emperor Wen of Sui, and died of illness at the age of 19. Yang Xiu had deep feelings for him, so he wrote a mourning article and carved it as an epitaph to be buried. Looking closely at this zhi, the penmanship is exquisite to delicate, and the dot painting is clear and beautiful, which can be called the crown of Sui Zhi Xiaokai. Judging from the appearance of the font, the Kaifa is pure and the intention is exhausted, which is very different from the Jin people XiaoKai and the Northern Dynasty epitaphs. Due to the short period of the Sui Dynasty, the standardization of the calligraphy could not be completed in more than 30 years, and this task fell historically to the Tang Dynasty.
"Dong Meiren Epitaph" (Sui) Takumoto. Mitsui Bunko, Japan.
By the time of the Tang Dynasty, the Fadu had been perfected and the physique was gradually perfected, and soon reached its peak. The Tang Dynasty can be divided into three periods, the early Tang Dynasty had Ouyang Qing, Yu Shinan, Chu Suiliang, and Xue Ji "four big people", basically following the "two kings" style of writing, advocating thinness; the Middle Tang Dynasty, represented by Yan Zhenqing, innovated and sought change, and took fat strength as the beauty; the late Tang Dynasty was represented by Liu Gongquan, who melted the face and Ou Zhichang, created his own ideas, and won with bone strength. The tang dynasty shangfa, the best example is Ouyang inquiry.
European script, italics pole rule
Ouyang Qing was one of the earliest calligraphers to establish a model of calligraphy, and he drew on the strengths of all the families and created a new style of Tang Kai's book, "European Style", with the courage to break the courage and seize the courage. His gesture of "Ge Ji Senran" is mainly influenced by the northern school of calligraphy, and at the same time compatible with the atmosphere of the southern school of "Xiu Bone Qingxiang", and his surviving works include "Jiucheng Palace Liquan Ming", "Huadu Temple Stele", "Emperor Fu Birthday Monument" and so on. The rules and regulations of the European body are strict, and they are regarded as "the extreme rules of the law", and later generations of imperial examinations often use it as a standard book style, so that thousands of hands are the same, a thousand people are on the same side, and the Ming and Qing dynasties have become widely criticized "Tai Ge Body" and "Pavilion Body".
Ouyang inquired about the "Jiucheng Palace Liquan Ming" expanded the text. The rough stone is now in Shaanxi.
In his long-term practice of calligraphy, Ouyang Qing also formed a complete set of theories of calligraphy creation, including "Teaching Tips", "Theory of Using the Pen", "Eight Tips", "Thirty-Six Laws", etc., which specifically summarized the calligraphy formal skills and aesthetic requirements such as the use of pens, knots, and chapters, laying a theoretical foundation for the "Tang Shangfa".
Yan Jian Liu Bone Words like its people
Yan Zhenqing of the Middle Tang Dynasty and Liu Gongquan of the Late Tang Dynasty were called "Yan Jian Liu Bone". Yan Zhenqing absorbed the characteristics of the four schools of the early Tang Dynasty, combined the penmanship of the Seal and the Northern Wei Dynasty, and became a style of his own, creating a majestic, plump, broad and generous "Yan Body", and his works include "Duo Pagoda Stele", "Magu Immortal Altar", "Yan Qinli Stele" and so on. Liu Gongquan learned to look good again, changed his face from fat to thin, and created a more rigorous "willow body", and his works include "Xuan secret pagoda stele" and "Divine Strategy Military Stele" and so on.
Tang Yan Zhenqing's "Yan Qinli Monument" expands the text. The rough stone is now in the Forest of Steles in Xi'an.
Yan and Liu's calligraphy has become a rule for thousands of years, and it is not unrelated to the spiritual realm of the two. The ancient Chinese believed that "characters are like their people", and Song Zhu Changwen's "Continuation of the Book Break" called Yan Zhenqing's calligraphy "like a loyal and righteous soldier, a righteous color to establish a dynasty, and a great festival and cannot be seized", pointing out the consistency of his books and character. Throughout his life, Yan Zhenqing had an upright disposition, never attached himself to the powerful and subservient to the top, and was known as a righteous martyr. In the third year of Emperor Dezong of Tang's reign (782), Huaixi Jiedu caused Li Xilie to rebel, and Yan Zhenqing, with the emphasis on sheji, personally went to the enemy camp, xiao Yi was righteous, awe-inspiring, and refused to be a thief, and was finally hanged. Yan Zhenqing's loyal deeds further enhanced his calligraphy status.
Liu Gongquan is also a model of "words like people". According to the Old Book of Tang, Emperor Muzong of Tang was sluggish in the government. Once, he asked Liu Gongquan how to use a pen to write well, and Liu Gongquan replied: "Use the pen in the heart, and the heart is straight." Mu Zong was remodeled, knowing that this was Liu Gongquan using the calligraphy to discipline himself. This is the "pen advice" that has been widely praised by future generations.
Tang Liu Gongquan 'Xuan Secret Pagoda Stele' Tuoben. The rough stone is now in the Forest of Steles in Xi'an.
The source of printing, the advancement of the order
In the nearly 300 years of the Tang Dynasty, many famous calligraphers have emerged, establishing the paradigm and law of calligraphy. By the time of the Middle Tang Dynasty (836-840), the strokes and structural specifications of the calligraphy had been finalized. Tang Kai laid the foundation for modern standard Chinese characters and also provided a model for standard printed fonts. The old Song style commonly used now evolved on the basis of the three bodies of Ou, Yan and Liu, and derived many variants such as shu Song, Bao Song, Biao Song, and Song Style.
Song print
The overall level of the Tang Dynasty script was so high that it had to be attributed to the imperial examination system at that time. In the Tang Dynasty, the system of "taking the book for the sake of merit" was implemented, and the criteria for selecting officials were "body, speech, book, and judgment", of which the requirement of "book" was "kaifa and beauty". At the same time, the Tang Hanlin Academy has a bachelor of books and a doctor of calligraphy in guozijian, and the calligraphy has been popularized and improved unprecedentedly in the whole society. As the Southern Song Dynasty Hongmai's "Rong Zhai Essay" said: "Since books are used as art, the Tang people all work on the law." ”
05
epilogue
"Those who cover the writing, the foundation of the scriptures, the beginning of the royal government, the predecessors are therefore behind, and the posterity is therefore aware of the ancients." This sentence in xu shen's "Explanation of Words and Characters" of the Eastern Han Dynasty not only clarifies the merits of the inheritance of writing culture, but also shows the role of words beyond time and space.
Chinese characters are the geological layer of Chinese culture,
It records the Chinese nation for 5,000 years
Material and spiritual civilization;
Chinese characters are the root of the Chinese nation,
Carrying the plot and way of thinking of the Chinese nation;
Chinese characters are also chinese children at home and abroad
Cultural genes and spiritual homeland,
In everyone's soul,
All are integrated into the points, horizontal, vertical, apostrophe, and pinch of the square characters!