"Don Futu Ode" Qian Yong shrunk to the book
<h1>Qian Yong - Calligraphy</h1>
The ancient stele in the Han, Wei dynasty, The Book of Li in the Jin, Song, and Six Dynasties must be written in the true book, and the stele began with Tang Taizong's "Jin Ancestral Inscription" Li Beihai followed.
Yu Weak Crown When He Xi learned the Valley Book, although the old learning was also known as a reward, he did not doubt it. Because he asked Mr. Lin Licha for advice, as soon as he saw the swimming book, he said: "The son is wrong to walk the head." Because he asked, "What will you do?" Sir: "You must learn the Song XueWeng book to be able to retreat." Later, Feng Dingyuan discussed the valley poem and thought that once the illness of Jiangxi vulgar Cha Ya entered the pen, the nine cattle could not allocate the words of Mr. Wu who would retreat with the yishan and Xikun bodies. The poetry and books of the valley from this point of view should not be contaminated in the slightest. Yu Said Wen Heng Weng Old Age Book also infected the valley disease in the end inferior to Si Weng Shen Shi Tian no matter what.
(Song Sijia) The scholar of Lu Gong is only Jun mo alone and has covered Jun Mo's character alcohol orthography painting Duan Fang Jin's "Wan'an Bridge Stele" is lu gong's "Ode to Zhongxing" and "Xiangzhou Painting Jintang Record" is lu gong's "Family Temple Stele" alone cursive and Zong Wang Da Ling Bu Zong "contention for a seat" faction.
Mi Shu can not be scholars too indulgent Cai Shu can not be scholars too restrictive. Rice calligraphy pen flying pen jumping pen jump bone natural bad scholar does not lose the vulgarity of the release is lost.
There are books of the Tang Dynasty that are now handed down only on the stele. Ou, Yu, Chu, and Xue each became a family Yan, Liu, Li, and Xu buxiang along the lines of the poems, such as the beginning, the sheng, the middle, and the late, and cannot be said to be the Tang Dynasty's monuments can be patriarchal. In the pre-Zong'ou calendar, Chu's great calendar, Zong Yan, Li's many to Dazhong, and Xiantong's schools of Xu Hao, Su Lingzhi, and Jizheng's "Holy Religion" were all flowed as "courtyard bodies" to Go ou and Yu gradually drifted away. Today's scholars should take the Tang Tablets as their ancestors. The Tang dynasty is more short, long, fat and thin; The Song people have hair defects in the categories of Shao Cai, Su, Huang and Mi. Scholars must know also.
Recently, there are three so-called Hai Nei scholars: one is Liu Wenqing of Zhucheng, the other is a servant of Qiantang Liangshanzhou, and the other is the Dantu Wang Menglou Taishouye. Or thesis Qing shu such as dry meditation into the fixed waiter lecture book such as cloth Shu Shu Tai Shou shu such as leaning on the door to sell pretty. Yu said that this theory is too harsh. Wen Qingben started from Songxue lingqiao abnormally and mistakenly in the "Chunhua Ge Ti" to be ambiguous and finally old, such as Shang Ding and Zhou Yi, who were not ancient and not suitable for use. In the early years of the lecture, Zhao and Dong Wei were self-strong and self-sufficient to the old pen and pen, and they disdained to rely on the ancients' old books without any intention, just like the children of the old family but followed the rules and warmed their lives. Zhi Tai Shou Is Talented Qing Miao Ben Xue Weng and slightly dip into the habits of the River. In middle age, Zhang Fanliao inspected the authentic handwriting and copied it into a light pick all the way and the posture was as good as Qiu Niang Fu Pink Bone Qing Fiber was not solemn.
Si Weng single-handedly submitted to Mi Yuanzhang in the Song Dynasty and said that this so-called monk praise monk had not been seen since the Tang Dynasty. Gai Si Weng's talent is high, Zhao Wu Xingshang is not in the eyes of Wen Zhengzhong, see Xi Zhe Generation! Yuan Zhang wrote that Su and Huang shangwei Si Weng could be the enemy. But what about those who can be both public and cannot be large and cannot be small and cannot be done? Yu said that all sit too high talent is too talented disease talent is easy to despise the ancients pen and pen are out of the original book such as the sky is not bound to the whole talent of the people also.
Dong Siweng tried to discuss the Song Four Families books all learned Yan Lu Gongyu said that otherwise the Song Four Families all learned the Tang people's ears. Si Weng's words are also wrong. Such as Dongpo learning From Li Beihai and participating in the reference; The valley learned the method of painting orchids and painting bamboo in a straight line; Yuan Zhangxue Chu Henan also had the momentum of galloping; the only one who learned Lu Gong was Junmu. ...... In short, the four families of the Song Dynasty cannot be learned, and there are three families of Disease Su, Huang, and Mi, which cannot be learned and cannot be healed.
Po Gongshu used to have Zen machines than Feihong playing the sea and plump Yueze. Yu Zhipo gong is extremely talented to write and write to repair the short fit and has no intention of being a bookmaker, which is out of reach. His treatise on the book and poem said: "Although I am not good at books and books, I can understand my own intentions and ask myself not to learn." It is also said: "Dignified miscellaneous stream Li Gang Jian Han Wanna." The one who can really get the scribe's mystic. However, its Gefa is very flat, and it does not use a center, such as the book "Table Loyalty View Monument", "Drunken Pavilion Record", "Liuzhou Luochi Temple Stele" and the like, although the heavenly fun is not a stele book in the end. ...... After more than fifty years, he had not entered the country and could not start a family, and he planned to write su Shu for the rest of his life, and the hair defects were full of twists and turns. The book of Naizhi Po Gong is not easy to learn.
Or ask the Yu Song Four Books can not be learned when what books to learn? Yu Yue: "Its only pine snow!" Song Xueshu turned the pen round directly to the second king Shi Zhihan Mu unsurpassed. Former dynasties such as Zhu Jingzhao and Wenheng Shanju came from the Songxue Weng Dynasty such as Jiang Ximing and Wang Huigu also came out of Songxue to learn without harm. Not so with the epitaphic version of the book. The book of the stele must be learned from the Tang dynasty such as Ou, Chu, Yan, and Liu Furniture is the authentic stele version, of which a little pine snow is not the genre of the stele. Or: "Then why not learn from the Tang people and must learn Song Xue He Ye?" Yu Yue: "Since we want to study the book and the stele version of Han Mu, we must have both the book of the stele edition and the book of Shao Han Mu and the book of Shao Yu and the book of Shao Yu to read three hundred pieces of "National Style," "Ya," and "Ode" must not be partial to the book.
Zhang Qiuyun: "Zi Ang's calligraphy is gentle and leisurely and elegant, and he has received the right army's first pass for Yan Mei's delicate and delicate lack of great festivals." Non-orthodox also. Chu Zhong ling shu shu
Si Weng Calligraphy and Painting Furniture is the second largest artist of his painting Sect Beiyuan and the length of the big and small rice. Only calligraphy has no ancient, no present, no name, and can become a family, gai, high talent, and straight on the ancients. Yu tasted Si Weng's picture scroll and used a pen to drown the show after the death of the people: "Eighty and one year old." See also a scroll of Linzhong, Wang, Yu, Chu, Yan, Liu, Su, and Huang Zhujia who have an inscription: "These several posters yu Lin seem to have three out of ten in a lifetime to get rid of the habit of restraint." The book was also eighty-one years old. Fu yi Si Weng's talent and academic ability to write books and paint old and not fade into their own everyone.
Mi Yuanzhang and Dong Siweng are both gifted and mysterious from the young to the old pen, and they have not stopped trying to establish the ancient books of the ancients do not have to look like this wise man deceiving the world. My academic ability is not only shallow and not much, but the capital is also the usual to seek its shape can not be not shaped seems to be?
Qian Yong calligraphy fan
Qian Yong (1759-1844), formerly known as Qian He, Zi Liqun, Taixian, Meixi, Qing Dynasty Jiangsu Jinkui (now part of Wuxi) people. Long-term as a curtain guest, footprints throughout the north and south of the river. Gong poetry, seal, li, fine engraving of the stele, good at calligraphy and painting, printed in the style of Three Bridges (Wen Peng) and Yi Bu (Wu Yuan). There are shrinking Xiaohan steles, which set a variety of Xiao Tang stele stone carvings in the world. After that, Yangzhou Jiangren Ji obtained dozens of kinds of remnants of stones, Yu Yuyan's plum Xiaoyan Zhongcheng, out of the platinum hundred and two, embedded in the wall of the Hangzhou Zhenjing Jingshe. However, there are many false words in the stele, and the swimming has not been able to correct them one by one. Paint small landscapes, sparse ancient and distant. There is a imitation of Zhao Danian's "Liutang Huawu Map", which is hidden in the Palace Museum. Died at the age of eighty-six (false years). He is the author of "Luyuan Cong dialect", "Luyuan Tan Poems", "Lanlin Collection", "Meixi Poetry Notes" and so on. There is a compilation of "Art Noh Examination".
Qian Yong was born in a famous and prestigious family but did not do anything, whether this is because the family is rich and does not use rice sorghum plots, or because of personality, there is no historical data to check. This is also a bit incredible today. It's like today's children who can go to college but insist on not taking it. Perhaps because of this, Qian Yong will travel thousands of miles, read thousands of books, not everyone will follow the clouds, and will still write after the age of eight ranks, leaving his name in the annals of history.
Qian YongShuzha
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Between the stele and the post: Qian Yong's "Calligraphy" saw the style of steleology in the middle of the Qing Dynasty
In the Qing Dynasty book world, Qian Yong was at best a second-rate calligrapher, and his book style was charming, mainly in the style of the thesis. However, his theoretical understanding is quite promising. In his monograph on calligraphy, "Calligraphy", we see that the excavation of ancient inscriptions has further impacted the study of Theology, although the scope of this impact is still mostly limited to literati and scholar-type officials, but it has gradually blossomed everywhere. Qian Yong also continued to explore this issue in his calligraphy works after the beginning of the trend of epigraphy in the late Ming and early Qing dynasties. However, at the same time, ruan yuan's "north and south school of calligraphy" theory, due to its own system, coupled with its identity as an important sinology town and feudal official, whether at that time or in later generations, Ruan Yuan's influence was obviously far greater than that of any contemporary scholar and calligraphy theorist. This may also be the main reason why Qian Yong has always paid little attention to researchers of the history of calligraphy. Qian Yong also expressed great admiration for Ruan Yuan's theory of calligraphy, believing that Ruan's "theory of the southern and northern schools of calligraphy" and "true theory" was "true", but at the same time he did not fully agree with it without reservation. In this regard, Qian Yong is not a person who is attached to the voice, and he actually has his own independent observation and thinking on the issue of inscriptions. This is also the real value of Qian Yong's "Calligraphy".
First, take the Tang Monument as the sect
Like Ruan Yuan' range, Qian Yong advocated learning Tang calligraphy, but he also noticed the problem that Tang calligraphy originated from the Six Dynasties. Volume IX of the "Luyuan Cong dialect" is "Stele Posters", of which the section "Steles of the Two Jin Dynasties and Six Dynasties" represents his main point of view: "Between the two Jin Dynasties and the Six Dynasties, the heaviest calligraphy is found in the "Book of Jin", the history of the South and the North, and there are not many inscriptions. Today, only the "Diao Zun", "Sima Shao", "Gao Zhi", "Gao Zhen", "Gao Zhan", "Yuan Tai Servant", as well as the "Confucius Temple", "Qianming", "Jia Lingjun", "Zheng Zhaodao", "Qifa Temple", and "Longzang Temple" are the most prominent. At that time, the Dharma had been re-emphasized, and many statues had been made. To put it bluntly, most of them are bad for laymen. Therefore, the descendants all worshiped the Tang Dynasty, and despised the Six Dynasties, and they did not know that everyone in the early Tang Dynasty was also out of the Six Dynasties. This paragraph focuses on several issues that Qian Yong is concerned about: the Book of the Six Dynasties, the Zongtang Law, and the issue of carving hands. Most of the discussions in book XI of the "Book Studies" of the "Tales of the Garden" basically revolve around these points.
In the "Book of the Six Dynasties" section of the "Book of Calligraphy", Qian Yong records that shiren had begun to collect and sort out the inscriptions of the Six Dynasties, and observed that the Stele of the Six Dynasties was the source of the Tang Stele: "Among them, such as the "Diao Zun", "Gao Zhan", "Zheng Daozhao", "Yuan Tai Servant", "Qifa Temple", "Longzang Temple" stele, Shi Ou, Yu, Chu, Xue Suzu. In the section "Book of Tang People", he also said: "There are Tang generations that advocate the Fa shu, look at their knots with pens, and also inherit the old habits of the Six Dynasties. The six dynasties and tang monuments are there, and they can be found. This is an assertion based on empirical evidence, which is basically close to historical facts. It can be seen that with the excavation and compilation of inscriptions of the Southern and Northern Dynasties, through the investigation of physical objects, people have begun to notice the historical fact that the Tang Dynasty book originated from the Six Dynasties. At the same time, Ruan Yuan also put forward the same point of view in the "Treatise on the North and South Schools". In the section "Calligraphy Divides the North and the South Sects", Qian Yong records that he had read Ruan Yuan's "Treatise on the Southern and Northern Schools of Calligraphy". However, whether this view was influenced by Nguyen Yuan or not, it is an indisputable fact that due to the large number of inscriptions unearthed in the Ming and Qing dynasties, it is an indisputable fact that scholars and scholars have the opportunity to discover problems that have not been noticed before.
And qian Yong noticed the so-called "cultivation for a long time, the crowd of yan contending for fangs, its momentum is also" the current situation, that is, "Beiping has Weng QinXi Gexue, Shanzuo has Guiweigu Daling, Wumen has Qianzhu Tinggong Zhan, Yangzhou has Jiang Qiu Shi Shi Shi, Fujian has Yi Moqing Taishou, Tiandu Ba Yan Tang Zhonghan, Zhejiang has Huang Xiaosong Sima and Jiang ZhaoXiang Filial Piety, all of which can call themselves in Han law, and scholars have become increasingly prosperous since then", especially shows the great role of the inscription excavation on the great promotion of the style of the book world. At that time, Qian Yong had clearly felt the rise of the style of calligraphy in the middle of the Qing Dynasty, which may be the main reason why he was able to agree with Ruan Yuan's "Southern and Northern Calligraphy School" theory. In terms of calligraphy learning, Qian Yong advocated learning Tang tablets: "Those who study books today should take the Tang tablets as their ancestors. There are many Tang people, short, long, fat and thin, each with a wonderful situation; the Song people have fewer categories, Cai, Su, Huang, and Rice, all of which have hair defects, and scholars must know it. But since the Tang Dynasty book comes from the Six Dynasties, why not study the Six Dynasties directly? On this issue, Qian Yong made this explanation: "(The Six Dynasties) was chaotic, not to mention the thesis, even broken and mixed, and the carving work was so bad that if those who had not tasted literacy in their lives, there were seventy-eight out of ten in the monuments", and thought that this phenomenon was really "ridiculous". One is to criticize the Wenhan of the Six Dynasties from the perspective of philology, and the other is to rebuke the evil of engraving. Judging by what we see later today, whether these two situations are "ridiculous" can be discussed again. For example, if you look at it from another perspective, the result may be different. For example, in the late Qing Dynasty, Kang Youwei's "Guangyi Zhou Shuangyi" praised the Six Dynasties stele, but did not think much of the Tang stele. Of course, this is an afterthought. The engraver that Qian Yong denounced as "if he had not tasted literacy in his life" is close to historical facts. Because during the Southern and Northern Dynasties, the control of "hundred workers" was extremely strict, and they could only inherit the world's inheritance and could not study. In the fifth month of the fifth year of the Northern Wei Dynasty Emperor Taiwu Taiping Zhenjun, there was an edict specifically stipulating this point: "Since the beginning of the year, the military state has been troubled, and there has been no preaching of culture and religion, so it is not a neat custom, but the track is also in the world." As for the secretaries below the prince, their sons are all too learned. His cunning and pawns should learn from his father and brother's profession and not listen to private schools. The violator dies, and the master denounces him. Regarding the illiteracy of the Six Dynasties engravers, Hua Rende has a special article on it, which can be found in "Analysis of the Engraving of Zheng Changyou's Statue and the Problem of The First Book and Later Engraving of the Northern Wei Longmen Statue".
While taking the Tang dynasty as a sect, Qian Yongli belittled the Calligraphy of the Song People, thinking that "the four families of the Song Dynasty cannot be learned, and there are diseases in learning, and the three families of Su, Huang, and Mi are especially unlearnable, and they cannot be healed." Su Shi, Huang Tingjian, and Mi Fu are "especially unlearnable" people, because they learn from the Tang people and participate in the changes, especially Su Shi", "Ge Fa Shu Bian, no center forward". The only one who has some approval is Cai Xiang, "the character is mellow, the calligraphy and painting are square", the calligraphy can keep the yan and the qing, but the line and cursive are not Yan Yilu, so it cannot be learned. The Song Sijia could not be learned, and another scholar in Qian Yong's mind was Zhao Mengfu of the "Direct Second King". Dong Qichang once pointed out to the point that the disease of Zhao Mengfu's calligraphy is "abiding by the law and not changing", but this feature of Zhao is exactly in line with Qian Yong's taste, which shows that Qian's calligraphy concept is close to conservative in the concept of theology.
In the Qing Dynasty, Zheng Qi personally went to Qufu and concentrated on copying the Han tablets, writing for everyone in the early Qing Dynasty. Qian Yong believes that Zheng Yong "learns from the erosion of The Han Monument, and vainly provokes himself", so as to "know the disease of the person". According to Zheng Qili's book from "Cao Quan" and "Shi Chen", the method of intermittent ginseng, although the wave is slightly weaker, but the talent and learning ability are good, and it can be called a good scholar. Qian Himself also admitted that "although the ancient stele is there, it is not passed on with a pen, there is no source of teaching, and it is personally inherited and painted", so who is the so-called "intellectual"? As we can know above, Qian Yongqi's views are quite conservative and he is not allowed to arbitrarily publish ancient laws, and another view of the "Xiao Seal" article says that "only Sun Yuanru observes and abides by the old law, he should be a good scholar", and Deng Shiru "cannot pass", which can also be proved. And Qian Yong's own good lishu, according to the "Seeing and Hearing Essay", said that it was "blindly charming, not seeking quaintness, although the name is far away, it is not close to the ancient." "Then Qian's knowledge and deeds are not one.
Second, the problem of engraving
Judging from the "family carving" of volume 9 of the "Luyuan Congyan" and the "Collection and General Discussion" of volume 10, Qian Yong is good at carving posts and often carves posts to give to people. Therefore, it is natural for him to pay attention to the engraving of the inscription. In the section "Book of the Six Dynasties", Qian Yong pointed out: "In the meantime, such as "Diao Zun", "Gao Zhan", "Zheng Daozhao"... And the harshness of the engraving, if the life has not tasted literacy. An important question in epigraphy is raised here, the question of immediate work. In the twelfth volume of his "Tales of the Garden", Qian also set up a section on "Inscribed Monuments", which discussed the way of inscribing monuments: "Together with calligraphy, there are generations of celebrities, and the inscriptionees also have a temporary ability, and they need their people to interact with the stele people day by day, and if they use the pen, if they are portrayed, they must see their faces and spirits, and then they can show their faces and spirits, and only then can they be called able to do things, the so-called true deeds are also the first class." The inscriptions of the two Jin Dynasties, the Six Dynasties, the Tang Dynasty, and the Song Dynasty that have been passed down from generation to generation still have survivors; as for the various Fa-ti, most of them are transferred from Tuoben and Forged Tomil, without special comparison and portrayal, and I do not know who they wrote, and wu can distinguish their faces and spirits. Therefore, I know that it is better to look at the stele than to see the false spirit of the post, and it is better to see the true face of the stele. Here it is directly admitted that people in the late Ming and early Qing dynasties noticed the problem of distortion of the Fa Ti, and the last sentence is inevitably reminiscent of the famous thesis that "Jiangnan Foot Expansion is not as good as Hebei Broken Monument". Practice produces true knowledge, and good is also good. The impact of the excavated inscriptions on the calligraphy concept of the people of the time cannot be underestimated. Qian Shi also had the unique insight to put forward the thesis of "dividing books with the superiority and inferiority of engraving hands", "Since the Han, Wei, Six Dynasties, Tang, Song, Yuan, and Ming Dynasties, there have been no less than ten million kinds of inscriptions, and the people who have written Dan have written books for everyone, there are famous books, and there are also authors who do not use the title of the book, and always regard the advantages and disadvantages of the engravers, and divide the books according to the high and low." Although the posture is like Yu and Chu, and the strictness is like Ou and Yan, if the carved hand is ordinary, it will become a bad Za. This is almost unheard of. In essence, the modern Sha Menghai's assertion that "carving hands is good, Zhao Mengfu will appear in the Eastern Jin Dynasty; carving hands is not good, and "Lanting" has almost become "Baozi"" thesis, in fact, basically does not exceed Qian Yong's understanding of this issue.
Qian Yong himself is both good at calligraphy and engraving, so he has a deep understanding of the problem of engraving hands, and does not simply regard engraving hands as craftsmen, he believes: "The advantages and disadvantages of carving hands are as good as books and paintings, all talents are fought, and high talents are full of posture." At the same time, on the basis of practice, he put forward a dialectical insight: "The engraving hand must not know the calligraphy, and it must not work on the calligraphy." If he can read books and naturally has prejudices, he is afraid that he will change the penmanship of others to his own appearance; if he cannot read and has no prejudices, he is afraid that he will be like a gourd, resembling a puppet, and what is different from the carving pattern of the mason carpenter? The significance of the question of making people aware of the engraving cannot be easily ignored, but what it is talking about seems to be more about the interest of the engraving. If it is promoted to epigraphy, I am afraid it can only be in terms of engraving after the Six Dynasties.
In order to have a deeper understanding of the significance of Qian Yong's hand engraving problem, it is necessary to outline the study of the engraving problem. After Qian Yong, in the middle and late Qing Dynasty, Bao Shichen, He Shaoji, and Yang Shoujing also discussed the issue of carving hands (workers), and in the late Qing Dynasty, kang Youwei, Ye Changchi, Shen Zengzhi, and others; after liberation, there were Shang Chengzuo, Qi Gong, Sha Menghai, and others. For example, Shang Chengzuo's "On the Calligraphy Style of the Eastern Jin Dynasty and the Orchid Pavilion Preface" (1966) Yun: "The ink written on the brick carvings is a round pen, but it is often carved during construction. The "Epitaph of Wang Xingzhi and His Wife" is extremely poorly carved, and the engraving method is to engrave two knives into the ink and then cut both ends. Skimming is cut at a large angle, so that the light and heavy pens and round pens of the original ink are mechanically neat and uniform. Qi Gong's article "From Henan Inscriptions to the Art of Ancient Stone Carving Calligraphy" (1981) emphasizes that "the role of engraving cannot but be included in the success factors of each inscription artwork." Sha Menghai's "Writing Style and Inscription style of the Two Jin Dynasties and The Southern and Northern Dynasties" (1990) also pointed out: "Due to the advantages and disadvantages of the engraving hand, the strokes are light and heavy, rigid and soft, resulting in the difference between the simplicity and beauty of the whole book. Mr. Sha also concluded: "The three of us invariably raised the issue of engraving the ancient tablets, which is an inevitable trend in the development of the history of calligraphy to the current stage. The study of Hua Rende and others is more in-depth. The contemporary Wang Weilin has made a historical review of the issue of "writing hands and engraving hands" from the perspective of academic history and its influence on the aesthetics of contemporary calligraphy, which can be seen.
III. Amendments to the Theory of the Northern and Southern Schools
Although he agreed with Ruan Yuan's theory of the North-South School of Writing, in some discourses, Qian Yong even went one step further. For example, in the "Treatise on the Southern Thesis of the Northern Steles", although Ruan Yuan divided into sects, he sorted out the path of steleology, and hoped that scholars could "exalt the customs and seek out the northern school". However, he still had a nostalgia for Theology, so in the "Treatise on the Southern Thesis of the Northern Tablets", he left some face for the thesis masters Zhao Mengfu and Dong Qichang, saying that they also participated in the Northern Law. Qian Yong went further, stating that "the book of the stele list and the matter of Han Mu are two paths, and they are not in harmony." And uniquely cited Dong Qichang's confusion: "Dong Si Weng Yun: Yu yi Huang Ting, Le Yi real book enlarged, for people to make a list of signatures, every hanging, not good", and exposed the reason: "Si Weng does not know that the stele and the post are two roads, and those who take Han Mu as the stele list, which is better?" In the section "Calligraphy Divides the Southern and Northern Sects", he further deduced: "Yu thought that cai, Su, Huang, Mi, Zhao Songxue, Dong Siweng and his generation were also ignorant of this, and all of them used the book of Qi Mu as a stele for thousands of years." It can be said that on the basis of agreeing with Nguyen Yuan's theory, the theory has been partially revised.
IV. Conclusion
The germination of epigraphical thought in the late Ming and early Qing dynasties did not have much impact on society at that time due to various objective reasons. This may also be the main reason why many works on the history of calligraphy are neglected. However, after the emergence of a new trend of thought, even if the work has not been published publicly (such as Yang Bin's "Big Lady Puppet Pen", etc.), the ideological resources it contains will certainly spread within a certain social group and more or less produce some repercussions. With the continuous increase in the number of inscriptions unearthed in the early Qing Dynasty, Ruan Yuan, as a sinologist, borrowed the theoretical model of "Nanbei Sect" in the history of landscape painting to further systematize the theory of inscriptions, which was the inevitable result of the development of calligraphy to the Qianjia period. It is Qian Yong who said, "Cultivation has been cultivated for a long time, and the crowd is competing for fangs, and its momentum is also natural." In addition to the excavation of inscriptions, the epigraphical practice of many scholars and scholars is the main social force supporting the division of calligraphy into "southern and northern sects". The trend of the times, even if it is not Ruan Yuan, there will be others who will put forward similar theories. Qian Yong not only agreed with Ruan Yuan's theory, but also proposed amendments, which was also the inevitable result of the joint action of the development of epigraphy in the early Qing Dynasty and the excavation of inscriptions. In the past, the history of calligraphy or calligraphy research was mostly focused on the leading figures of epigraphical theory such as Ruan Yuan, and most of the second-rate calligraphers who did not have leadership talents such as Qian Yong were ignored. This makes our study of the history of calligraphy either simply the construction of theoretical frameworks or biased towards the accumulation of materials, thus lacking a plump body and a moving brilliance. Under the general trend of increasing attention to social history and folk perspectives in the field of historical research, researchers of calligraphy history should also put down their shelves and explore new research perspectives outside the leading figures. In this sense, Qian Yong's observation of the book world at that time provides us with vivid information on the time when the inscriptions in the middle of the Qing Dynasty were intertwined and mutually long, and also had a complementary effect on Ruan Yuan's theory, so it is worth further excavation by researchers of the history of calligraphy from here and there. (Zhang Changhong)
Qian Yong lin Jin Tang Song Yuan fa family four screens