Abstract: Since the Qing Dynasty, the "Erjiao" stele has been famous all over the world, and it has attracted the attention of the world because of its outstanding and ancient artistic characteristics, and its publication in the territory with great national characteristics. The history of the Southern Dynasty along the old system of the Eastern Jin Dynasty, the prohibition of private monuments, so the number of inscriptions stored is very small, and the "Erjiao" monument located in the border of Yunnan is more than precious. The inscription culture of Yunnan during the Six Dynasties period has a high aesthetic convergence with the style of stone inscription in the Central Plains, and the inscription stone inscription in the history of calligraphy injects a unique aesthetic core into the "Erjiao" tablet. There is a Qing generation, "stele learning" is flourishing, Kang Nanhai listed "Jialongyan Tablet" as "the first divine product", "Baozi Tablet" as "the originator of the real book". Therefore, the stele was integrated into the continuous development of stele science in the Qing Dynasty, and was widely worshiped and studied by calligraphers and scholars, forming an aesthetic system of the continuation of "stele science" in the Qing Dynasty. The exploration of the calligraphy aesthetics of the "Erjiao" stele is based on the objective examination of the development of the "Erjiao" stele, which is the premise of constructing the unique aesthetic form of the "planing aesthetics".
1. Aesthetic reflection on epigraphy in the Qing Dynasty
Since the discovery of the stele, it has been in the world, studied and passed on, and constantly revealed the unique aesthetic value contained in it. Before the Qing Dynasty, there were records of the excavation of the stele, but unfortunately it did not receive attention. Until the Qing Dynasty, the stele gained a huge aesthetic living space. In the Qing Dynasty, the "stele study" was constantly improved, and Kang's unremitting advocacy pushed the "stele study" to a climax, and the calligraphy aesthetics of the "two kings" system in the history of Chinese calligraphy for a long time were subjected to an unprecedented impact. Under the impetus of Kang's Clan, an extreme aesthetic of calligraphy art was formed. At this time, due to a variety of reasons, the aesthetic connotation of tablet art was easily influenced by Kang's "stele learning", and the aesthetic value orientation of the Republic of China and even the current still retains the aesthetic understanding established by the previous generation.
1. The pre-Qing Dynasty stele is omitted
In the "Erjiao" stele, the excavation of the "Planing Dragon Yan Stele" is earlier than the "Planing Baozi Stele", which has been known to the world before the Qing Dynasty, and can be traced in the written records. The "Baozi Stele" was unearthed in the 43rd year of Qianlong in the Qing Dynasty (1778), and there was no relevant record of the "Baozi Stele" before. (See Table 1)
| Asadai | author | writings | Publications |
| Yuan | Li Jing | Chronicles of the Yuan Dynasty | "Today, Lu Liang has a stele of the Emperor of the Mansion, after the order of Yin Ziwen, he received the surname Ban, and at the end of the Western Han Dynasty, he ate Henan Yi, because he thought that he was the captain of the town, and the history of Ningzhou Thorn. ” |
| bright | Zhou Hongzu | Ancient and Modern Calligraphy | "Qiongdu County Hou Jiao Longyan Monument, Longyan Servant Liu Song Fenghou, Monument in Luliangzhou. ” |
| bright | Zou Yinglong | Yunnan Tongzhi | "Hou Longyan of Qiongdu County, a native of Nanning Prefecture, a tired official during the Yongjia period of Emperor Wen, General Longxiang, Captain Zhenman, and Ningzhou Thorn History" |
| bright | Xie Zhaoqian | "Dian Luo" | "More than ten miles south of Nanning County today, there is Xinggu Taishou Fu Jun Monument, and then there are Fu Shide, Fu Xuan, and Fu Yun have successively been the history of Ningzhou Thorn have a bequest. ” |
| bright | Hong Xixuan | "Pingjin Reading Tablet III Continuation" | "The history of Ningzhou Thorn given by Long Yan is its local official, so the ancestor and father of the Fu family are hereditary. ” |
| bright | Li Xian; | "Ming Yi Unification Chronicles" | "The Northern and Southern Dynasties are from Tongle County, Nanning Prefecture. Shi Song, General Long Xiang, Captain Huzhenman, Ningzhou Thorn History, Feng Qiongdu County Marquis" |
Table I
The specific discovery age of the "Planing Dragon Yan Tablet" is not examined, and the earliest record of the text is written by Li Jing in the Yuan Dynasty, and it can be considered that the unearthed time of the "Planing Dragon Yan Tablet" is in the Yuan Dynasty or before. The search of the literature and materials of the "Planing Dragon Yan Tablet" only has a simple historical record of the Planing Dragon Face, and there are even errors, and there is no mention of the artistic style of the tablet, and this kind of artistic style did not receive due attention before the Qing Dynasty. There are Ming Dynasty Zou Yinglongxiu "Yunnan Tongzhi" contained in the "Yongjia period of the tired official Longxiang General", and the year name "Yongjia" for 306 A.D. - 310 A.D., during the reign of Emperor Huai of the Western Jin Dynasty Sima Chi. According to the record of "Planing Longyan Tablet", Planing Longyan lived in 386-446 years, and the difference between the two was nearly 100 years.
2. The aesthetic dimension of the monument
In the Qing Dynasty, the flourishing of "stele learning" prompted the stele to be manifested in the world. When Ruan Yuan was transferred to the governor of Yunnan, he found the "Dragon Yan Tablet", and inscribed under the tablet [1] and said: "This tablet is written and calligraphy, all of which are the Han and Jin Dynasty orthologies, and it is rare to ask for the northern land, which is the first ancient stone in Yunnan, and it will always protect it." Ruan Yuan's high evaluation of "The Monument of the Dragon's Face" attracted widespread attention from Jinshi and calligraphers. The "Baozi Tablet" in "Erjiao" was commented by Kang Youwei: "The appearance of the ancient Buddha is simple." Under the advocacy of Kang Youwei and others, in the late Qing Dynasty, there was a general phenomenon of "a three-foot child, a ten-room society, a general monument worship phenomenon [2]. The ancient tablets that were silent in the world during the Wei and Jin dynasties received unprecedented attention, and from the aspects of epigraphy, literature, exegesis, phonology, and evidence, they regained the artistic charm of the tablets in the Wei and Jin dynasties, and promoted the academic research upsurge of tablet stone carvings.
Kang Youwei, as the master of the Qing Dynasty stele study, wrote "Guangyi Boat Shuangyi" with the innovative idea of "change, heaven also" to turn a stable "post learning" style. In the torrent of great changes of the times, the aesthetic thinking of "raising monuments and suppressing posts" has become an inevitable choice.
"Guangyi Boat Shuangyi" [3] says:
"The Dragon Yan Monument" is like an ancient saint of Xuanyuan, with a crown and a drooping crown. "Stone Gate Ming" Ruoyao Island scatters immortals, and the crane is crossed. "Huifu Temple" is broad and virtuous. "Treasure" is as simple as the appearance of an ancient Buddha.
Among them, he especially spoke highly of "The Dragon Yan Monument", ranking first among the gods. The reason why Kang's praise of "Erjiao" is that he first starts from the political purpose, takes the reform of the law as the core idea, and regards the study of the book world as urgently in need of innovation as the Qing Dynasty.
"Guangyi Boat Shuangyi" [4] contains:
The longevity of the husband's paper is only a thousand years, and it has flowed to the national dynasties, not only the ink of the six dynasties can not be revisited, that is, the Tang people hook the book, and it has been a rare feather. Therefore, today's post, no matter what family, no matter what post, about the Song Dynasty, the Ming Dynasty heavy hook repeatedly turned over the book, although the name Xi, dedication, unrecognizable, the spirit can not be discussed.
Comparing Kang's Guangyi Zhou Shuangyi with many works such as "Xinxue Pseudo-scripture Examination" and "Confucius Reform Examination", the ideological change of "Tuogu reform" runs through the goal appeal of Kang's calligraphy aesthetics. "Tuogu" is placed in the art of calligraphy not only to enrich the past and the present, but also to serve his idea of "respecting the monument". Respect the inscription of the Wei and Jin dynasties, even if the nameless monument is the book of the Six Dynasties, there is also an anomaly, and the "Erjiao" is obviously in an important position of Kang's "Tuogu" thought. However, due to the fact that the stele was located in the Southern Dynasty at that time, the style was simple and mao, and it was strange and ancient in the northern stele of the "Luoyang style", therefore, Kang's radical idea of "respecting the stele" cut off the integrity of time and space in the process of calligraphy. He placed the stele in a single Southern Dynasty inscription calligraphy, so as to see the origin of the variants, so as to say:
Wu Zhi's "Gulang Tablet", Jin Zhi's "Xiu Tablet", "Zongyang Mansion Jun Tablet", "Baozi Tablet", Northern Wei Dynasty's "Lingmiao Tablet", "Hanging Biganwen", "Ju Yanyunzhi", "Huigan", "Zheng Changyou", "Lingzang Statue", are all in the Li, Kai ...... The gradual transformation is also visible. [5]
Kang's "Tuogu Reform" refuted the undifferentiated refuge of the study with an indiscriminate reverence for the monument. Therefore, "in the previous divergence, the Qing Dynasty stele study went the farthest, and the impact on the relatively stable frame of reference was also the greatest, and Wang Xizhi's supremacy was the first time that it was strongly shaken after the rise of stele study." ”[6]
Kang's stele theory has influenced and promoted the development of stele science from the late Qing Dynasty to the modern era, and the aesthetics of stele science have been revitalized under the turbulent social background. At that time, epigraphy lacked aesthetic understanding in the pure sense, and to a large extent, the essence of aesthetics was influenced by ideology. At the same time, the strange and ugly calligraphy style parasitized the aesthetics of the world through the coat of stele studies, and even produced a deformed aesthetic style after the Republic of China.
The establishment of "stele science" is still a historical achievement of the aesthetic understanding of the Qing Dynasty, and it retains a majestic and simple artistic style in aesthetics, so as to correspond to and enrich the authoritative supremacy, elegant and beautiful aesthetic model. In the construction of the whole theoretical system, there are still many contradictory factors that are unraveled with continuous understanding. In the Qing Dynasty, epigraphy took ideology as the correct presupposition, and aesthetic understanding became a strategic construction for aesthetics. As a classical art heritage, the stele covers a unique aesthetic connotation, and the "planing aesthetics" should be based on the cultural connotation of the "Qing Dynasty stele study" to form the aesthetic form of "harmony and difference" and "unique south".
Second, the convergence of the aesthetic core of the monument
Qing Dynasty epigraphy has had a great impact on the long-term and stable aesthetic value of calligraphy, and has carried out a paradigm shift and value reconstruction of the traditional calligraphy aesthetic understanding. In the reconstruction of the new calligraphy aesthetics, the ideology and national will are mixed with historical imprints, and only in this way will the value orientation of aesthetic understanding undergo a huge displacement. The establishment of the aesthetic language system of "planing aesthetics" began on the basis of a profound analysis of the stele, related to the internal aesthetic logic of the stele and the inscription stone inscriptions of the Six Dynasties, and thoroughly reflected on the laws of artistic development and academic theory, so as to establish propositions in continuous exploration.
1. The aesthetic association with the inscription stone inscriptions of the Six Dynasties
Since the beginning of the name of the "Erjiao" tablet, it has been widely concerned by scholars. Among them, the research on the Erbei font stays more in the category of evolution from subordinate to Kai. The reason is that after the "Erjiao" stele was visited, it was impossible to find a similar reference with the southern inscription for a long time, so it was relatively unique. If it is linked to the inscription stele plate of the Central Plains during the Six Dynasties, you can explore the mystery of the stele hall.
The "Inscription Stone Book" is based on the premise of function, as the official inscription style that has been solemnly handed down to the world. Yang Xin, a native of the Song Dynasty of the Six Dynasties, said in "Picking Ancient Names of Neng Books" [7]: "The Book of Zhongshu has three bodies: one is the book of inscriptions, and the most wonderful one." The second is the charter book, and the secretary and the teacher are also the primary school teachers. The three are said to be in the book, and those who hear each other are also. The three dharmas are all good in the world. "The inscription stone book from the Han Dynasty, with the seal script as the body, published in the tablet. And then the eight-point book is transformed into the seal, Wei Heng's "Four-Body Book Potential" [8] cloud: "The one who is affiliated with the book, the seal is also the jie." "The eight-point book is simple to use and dignified, and at the same time, the funeral culture of the Han Dynasty was prevalent and popular to erect monuments. The combination of the function and aesthetics of the inscription has formed a long-term and stable aesthetic norm, and has also formed a certain craftsman system and inheritance mechanism, and future generations dare not change the inscription style at will. Therefore, the Han Dynasty inscription stone inscription style and stele system and other aspects of the development of a high degree of complete, successive dynasties. In terms of the visual experience conveyed by the glyphs, the eight-point book has a typical pattern of waves and swallowtails, forming a sense of order and exquisite craftsmanship, which meets the aesthetic requirements and historical characteristics of the inscription stone calligraphy. In the process of the development of the inscription, the regularity was continuously strengthened, and the straightness of the square brush and dot painting became more orderly. This kind of aesthetic may change, but it is not out of the eight-point category, and there is great stability in the evolution of the book style. The "Erjiao" penmanship is ancient, and the style of the book can be examined.
From the perspective of carving, engraving inscriptions is a kind of skill, and it has family inheritance and continuity. The writer and the engraver coordinate and cooperate to complete the translation of "writing" and "engraving". Sophisticated engraving requires the same height as the writing, and must be skillful in "knife technique". Yang Shoujing's "Hormone Feiqing Pavilion Commentary on the Tablet" [9] said: "(The Dragon Yan Tablet) is absolutely unusable, and it is extremely changing. Although it is also a folding knife pen, it is gentle and elegant, and there is no cold begging state. Among them, the "pen of the folding knife" is engraved with the eight-point calligraphy of the Han Dynasty.
During the Wei, Jin, Southern and Northern Dynasties, the development of writing was unbalanced, and under the macro background of politics, economy, and culture, the evolution of the writing style between the economically developed centers and the border ethnic territories, official documents and lower-class folk writing, etc., formed a trend of development at the same time. This differentiation in the border areas is more obvious, coupled with the relative isolation of ethnic minorities, and the multiple imbalances make the development of fonts in some areas stay in the original concept and writing level range. It can be seen from the time in the text of "The Tablet of Planing Baozi" that the tablet was erected in the fourth year of Taiheng in the Eastern Jin Dynasty, and the fourth year of Taiheng should be the first year of Yixi. The Fu clan stood on the border, and in the last years of the Eastern Jin Dynasty, there were frequent wars, and the information was blocked, so that the change of the year name was not known. The same is true of culture and art, but the slowness and lag of the influence of this style is also a meaningful feature of historical time and space in the development of the history of calligraphy. This situation is not a singular existence in Yunnan, placed in the period of the Sixteen Kingdoms, "the northwest corner of the Qinliang Prefectures, its culture continues the Han, Wei, Western Jin Dynasty style of learning, down to the (North) Wei, (North) Qi, Sui, Tang system, inherited the past, followed by the decline, five hundred years of continuous lineage, and then began to know that in the cultural system of the Northern Dynasties, its development and change from Jiangzuo to the importer, there is also the Han, Wei, Western Jin Dynasty Hexi inheritance. [10] In the northwest of the border region with Yunnan, the style of the book is similar.
As a unique style of calligraphy in Northwest China, some researchers believe that it is a "local" style of calligraphy in Northwest China. From the aspects of the occurrence time, scope of use, and development degree of "Northern Liangti", we can see that the "Northern Liangti" in Northwest China has a very high degree of similarity with the "planing body" in Yunnan. "The Northern Liang style is a unique form of Lishu formed by the evolution of the inscription stone book in the Wei and Jin dynasties to the end of the fourth and early fifth centuries, and it is a style of the times of the Lishu, rather than a unique local style. [11] During this period, in addition to the inscription stone inscriptions with a unique style of calligraphy, this style of calligraphy was reflected in the writing of the scriptures in Dunhuang in Beiliang.
The "scripture writing style" itself has the characteristics of copying, and it is confined to the border, so the "scripture writing style" has the same lag as the inscription stone inscription. Taking ink as a reference, the unique style of calligraphy is more valuable and meaningful for comparative research. Cong Wenjun believes that the style of calligraphy is mixed rather than the transitional form of the evolution from official script to regular script, "Yunnan's "Planing Longyan Tablet" and "Planing Baozi Tablet", Jiangsu's "Epitaph of Wang Xingzhi and His Wife", "Wang Minzhi's Epitaph", "Wang Danhu's Epitaph", Ji'an's "Haotaiwang Tablet" and many of the Northern Dynasty stele plates are all "inscription stone books" that have been transformed into form after the impact of regular script, and should not be regarded as a transitional form in the evolution of regular script, but should be regarded as a lagging phenomenon in the body of the book in the use of characters in regions and classes. [12] In contrast to the change of calligraphy ink, the inscription stone script seems to be a form of transition from the eight-point script to the regular script. Therefore, the author believes that no matter from the era of regular script, or from the analysis of regular script penmanship and structural characteristics, "planing style" is not a transition of official script or regular script, but a special form of regular script.
2. Convergence with the aesthetic core of Central Plains calligraphy
Compared with the inscriptions in the Central Plains at the same time, it is found that the "Erjiao" stele has a high synchronicity. From the Central Plains to the borderlands, the most direct medium of communication is human communication. "The flow of people in space is essentially the flow of culture in space that they are carrying. ...... If there are intellectuals among the immigrants, it will directly lead to the improvement of the academic and cultural level of the host country. In addition, when different cultures from other regions collide with the cultures of the region along with the migration of the population, it often leads to changes in social thinking. [13] Since Emperor Wu of the Western Han Dynasty opened the "Southwest Yizhi County", he established exchanges and contacts with Han officials, so that Han culture could spread in the southern and central regions, and gradually began to be sinicized. In the early Eastern Han Dynasty, the government was located in the Nanzhong region, when Confucianism was popular. Therefore, the Han Dynasty Nanzhong has already cast the corresponding cultural heritage. The existing steles are inherited from the old system of the Han Dynasty in terms of shape, style and style, reflecting the characteristics of high convergence with the Central Plains. The "regional" calligraphy style in the border areas also has the aesthetic core of calligraphy in the Central Plains of the Northern Dynasties. In the early period of the Northern Dynasties, calligraphers were largely influenced by the calligraphy of the Qinghe Cui family and the Fanyang Lu family. In addition to being influenced by the calligraphy of the inscriptions from the Northern Liang and the Sixteen Kingdoms period, the calligraphy of the Cui and Lu families also had an important impact on the calligraphy of the Pingcheng inscriptions, and played a key role in influencing them to a large extent. ”[14]
"The Biography of Wei Shu Cui Xuanbo" [15] contains:
Xuanbo Zuyue and Fan Yang Lu Chen, and are famous for their liberal arts. Chen Fa Zhong Xuan, Yue Fa Wei Xuan, and the grass of Su Jing are all wonderful. Chen Chuanzi Yan, Yan Chuanzi Miao. Yue Chuanzi Qian, Qianchuan Zi Xuanbo. The world does not replace the industry. Therefore, the book of Cui and Lu in the early Wei Dynasty.
"The Biography of Wei Shu Lu Yuan" [16] contains:
At the beginning, Chen's father's Zhifa Zhong Xuanshu was passed down from generation to generation, and the world was famous. To the above, both good grass traces. Yuan Xi family law, Daijing palace Duoyuan inscription. White Horse Gong Cui Xuanbo is also good at books, and the body of Wei is handed down. Wei Chu Gongshu, Cui, Lu Ermen.
Cui and Lu Ermen calligraphy "the world does not replace the industry", the style of calligraphy is old-fashioned, although the palace plaques at that time are mostly from the hands of Cui and Lu, but their calligraphy has long been gone. On the occasion of the Han and Jin dynasties, the tablet plate was solemn and solemn, and Cui Hao was especially good at the book, and also used the regular method, so Cui and Lu Ermen calligraphy had a great role in promoting the calligraphy of the early Northern Dynasties.
"Wei Shu Jiang Shi Biography" contains:
There are many people who have been seen in Lu after the subordination, and they are not as wonderful as Cui Hao.
Although the Cui and Lu families of the Central Plains were wiped out, their calligraphy style could not be seen, but the artistic aesthetics promoted by the two families were integrated into the overall development process of calligraphy. Or the unique aesthetic language of Yunnan planing monuments, which is the product of the combination of regional culture under the influence of the calligraphy of Cui and Lu Shijia in the Central Plains. The culture is more manifested in the combination of the Han culture of the Central Plains and the lineage of the local ethnic groups, and the inner spirit is inherited in one line. Although inheriting the spiritual core of the Han family, the reason for the border is not simply confined to the aesthetic consciousness of the Central Plains, but through its own development and interpretation, it integrates a unique regional folk style, which is very different from the artistic aesthetics of the Central Plains region in the same period.
敦煌遗书（法藏）P2548
The Analects of Confucius, Volume 6, Advanced 11th (detail)
Beiliang Chengping for four years
"The Tablet of the Buddhist Temple of Fuqu Anzhou" (detail)
3. Aesthetic aesthetic system
1. The spirit of time and space in aesthetics
The Fu clan, a large family in Nanzhong, was originally a Han people in the Central Plains, and then appeared in the Shu Han Dynasty. The surname culture in Nanzhong came with the migration of the Han people during the Han Dynasty and reached its heyday in the Three Kingdoms and the Jin Dynasty. Although the geography is located in the borderland, it has a very similar ethnic culture to the Han region of the Central Plains. The big surname and the big clan were powerful and dominated for 500 years, and they were both patriarchal families and military politicized groups. Therefore, it is no longer only a family name in the original sense, but also a group with a family as a unit and a variety of identities as a whole, which has a special cultural symbolic significance. In the later period of the Northern and Southern Dynasties, the Fu clan continued to derive names or unique concepts such as "West Plan", "East Plan", and "Fu Man", and these titles with specific meanings were also formed by the fusion of Han immigrants and ethnic minorities. The culture is very localized and comprehensive, and it has led to a variety of thinking forms, resulting in a variety of art forms that are both diverse and ancient.
"The New Tang Dynasty Book: The Biography of the Southern Barbarians" [17]:
Yi people are still ghosts, and the main sacrifice is called the ghost master, and every year the household produces a cow or a sheep, and sacrifices it to his family. There will be soldiers to send ghosts and welcome ghosts, because of the clouds of revenge.
The name of the "ghost master" of the southwest ethnic minority sect is associated with the concept of ghosts and gods of the early ancestors and the worship of primitive beliefs. The self-proclaimed "Great Ghost Lord" was centered on Luliang in Yunnan Province, and ruled for 500 years from the Wei and Jin dynasties to the Tang Dynasty.
As a large clan in Nanzhong, the Fu clan has records of the ghost master of the Fu clan from the early Tang Dynasty to the prosperous Tang Dynasty, so the "ghost master" system has a corresponding inheritance relationship with the Fu clan. The worship of ghosts and gods in this primitive belief gives birth to a spiritual artistic aesthetic, which originates from the collective unconscious expression, does not depend on acquired experience, and the specific forms of presentation are diverse. The "planing aesthetics" naturally contains the national genes of the region, and the primitive beliefs with the cultural color of "witch" are gradually transformed into the spiritual core of artistic aesthetics, which is full of "spiritual" experience.
Looking at the calligraphy aesthetics of the stele here, although the "Baozi Stele" is similar to the inscription stone inscription in the Central Plains, it is still open in the ancient legal order, subtle and strange. "Subtlety and order" not only follow the rules of the Central Plains and Han Land, but also the spiritual belief of tranquility, while "spaciousness and strangeness" is the inner expression of the collective unconscious aesthetics. "The Dragon's Face Monument" is also the same.
The aesthetic style of "The Tablet of the Dragon" is quite "condensed", and the "Tablet of the Treasure" is even more "simple". The two are rooted in the rich and unique cultural soil, have the aesthetic consciousness of the regional national spirit, and show the aesthetic atmosphere of "Shanghou". The natural factors of the geographical environment have a crucial influence or decisive role in the thinking, cognition, and aesthetic tendency of the people who reproduce.
In classical Chinese aesthetics, "thick" first pays attention to the value of human aesthetic subjectivity, observing from oneself and observing astronomy and geography, which has a distinct humanistic color. The spiritual temperament of the plan presents an artistic expression that is implicit but not leaky, which is the pouring of national emotions hidden in the region, and the dot paintings are full of thick texture, strength and beauty, and humble and strange.
"Planing the stele" belongs to the Southern Dynasties, that is, the period of the Wei and Jin Dynasties, which is different from the ontological temperament of the Wei and Jin dynasties. The temperament of the Wei and Jin dynasties is more inherited from the Taoist thought - the main mind of "natural carving", and follows the natural expression of emotions. Wei and Jin metaphysics broke through the shackles of "form", reached the level of understanding of the essence of life in spiritual pursuit, and became the unique aesthetic understanding of the Wei and Jin dynasties. The aesthetic understanding of "planing" coexists in the same time and space as the aesthetic understanding of the Wei, Jin, and Southern Dynasties, but two categories of understanding have been formed for the artistic expression of spirituality.
2. Aesthetic similarities and differences
The overall aesthetic consciousness of "planing aesthetics" is placed in the planing monument, highlighting its internal differentiated aesthetic characteristics. Taking the aesthetic language of "Planing Dragon Yan Tablet" and "Planing Baozi Tablet" as examples, there is a big difference between the two. The inscription briefly summarizes the life of Baozi and laments his untimely death. This kind of official document is very much in line with the requirements of the official norms in the whole stele system, whether it is from the writing of the inscription, or the length of the three parts of the inscription, the main text of the upper part of the tablet, the main text of the middle part and the list of officials in the lower part, there is obviously a unified law. The artistic language expression of "Baozi Tablet" breaks through certain limitations, the glyph structure is large and small, and there are decorative elements between the dot paintings, which are not unrelated to the collective unconscious aesthetic beliefs of ethnic minorities, and the primitive and brutal aesthetic character is especially seen in the stable sense of order. "The Monument of the Dragon's Face" has a special monumental ritual meaning, and has strong emotional language and aesthetic characteristics in terms of inscription, tablet system, and artistic expression. The inscription cites the scriptures and classics to describe the great achievements of the dragon face in detail, and the style of writing is affectionate and euphemistic, which leads people to mourn. The style of "Planing the Dragon Tablet" is sincere and harmonious, and its artistic language seems to be the opposite, the surface of the tablet is mottled like a cliff stone carving, and its calligraphy style is not like the "Planing Baozi Tablet" style is regular, arranged in an orderly manner. Compared with the two, the artistic form and expressive language of "The Monument of the Dragon" are richer and stronger, from the realism of the style full of emotional colors to the presentation of the abstract form of calligraphy art, forming a unique "meaningful form". Both large and small "steles" emphasize the changeability of the external situation and the irregularity of the internal processing of the glyphs, and the combination of dot paintings is ups and downs, and the space is divided flexibly, and the two are moving and still, creating a strange and clumsy aesthetic image. There is a discussion on "Baozi" "The appearance of the ancient Buddha is simple, thick and ancient, the body is flying, the pen is like a spear and halberd, straight and straight, calm and happy." There is also "The Dragon Yan Monument" "If Xuanyuan is an ancient saint, the crown hangs." ”
The artistic language of "Erfu" is harmonious and different, showing different forms of aesthetic styles, and it has a common aesthetic understanding inside, which is based on the aesthetic style of "planing aesthetics" under the overall consciousness of both the same core and the externalization of "metamorphosis".
Wang Bi said:
Naturally, there is no name, and there is no end to it. Wisdom is not as good as ignorance, and the form is not as good as the essence, the essence is not as good as the formless, and the instrument is not as good as the non-instrument, so the phase is also reversed. By the way, nature, nature. [18]
The "beauty of the world, each with its own beauty" embodied in the "planing aesthetics" comes from the exchange and dialogue between the human soul and the nature of the universe, and activates the historical "accumulation" of regional national culture. It refers to the accumulation of social, rational, and historical things into an individual, perceptual, and intuitive thing, which is realized through the process of 'natural humanization'. ”
The style of "planing aesthetics" is represented by "planing body", except for "two planing", the number of tablets that can be seen today is scarce. Judging from the earliest "planing" style tablet at the time of publication, in the past hundred years, the aesthetic style of tablet writing has been deeply integrated into the local national consciousness and has become a stable and normalized form of expression for tablet writing.
| Today, you can see the tablet of the "planing" style in Yunnan during the Six Dynasties | |||||
| The name of the tablet | "The Tombstone of the Dragon" | Zhao Xuanbo's Monument | 《Treasure Monument》 | "The Dragon's Monument" | "Xiangguang Remnant Monument" |
| Date of publication | 6th year of Taihe (371) | 10th year of Taiyuan (385) | The first year of Yixi (405) | The second year of the Ming Dynasty (458) | To be examined (the tablet is peeling too much and its age is damaged) |
Treasure Monument
(Published in 405)
Hidden in Qujing No. 1 Middle School;
The Dragon's Monument
(Published in 458)
Hidden in Luliang County Zhenyuan Fort
Song Ta Collection
Tombstone
6th year of Taihe (371)
Zhao Xuanbo Monument (Folk Collection)
10th year of Taiyuan (385)
Conclusion
From the Qing Dynasty to the present, the understanding of "stele planning" should take into account the possibility of inheritance, that is, the aesthetic standards under "stele learning" since the Qing Dynasty, and its premise is to focus on "post learning". Whether the "stele study" obscures the objective historical process of calligraphy art, whether it is simply affirmed or not, makes the aesthetics of calligraphy paranoid and easy to confuse the boundary between classic and non-classical. In the transformation of calligraphy aesthetics, the ideology and national will of the historical era are mixed with the value orientation of aesthetic understanding
The proposition of "planing aesthetics" is based on the historical and artistic selection of works of art with unique formal meanings, and it is also an academic concept that respects history, highlights the region, and enhances national art, and at the same time integrates and becomes the spiritual characteristics of Chinese classical aesthetics.
The development of planing culture and calligraphy is integrated into the disciplines of ethnic folklore, history, sociology, archaeology, literature and erudition, aesthetic psychology, human art, calligraphy and philology, and specific to the direction of literary and historical research, calligraphy art style research, formal aesthetics research, etc., and the current research has achieved the best development results of the times in the field of calligraphy form. This paper puts forward the concept and idea of "planing aesthetics", which is mainly based on the following aspects: national culture, historical origin, epigraphy theory system, regional inheritance and dissemination of planing calligraphy, formal aesthetics and innovation. The formation of aesthetic concepts requires interdisciplinary research and accurate summary of the above factors, especially from the humanities and arts, to discover the laws and summarize the characteristics, so as to form people's overall awareness of beauty.
From the point of view of calligraphy, "planing aesthetics" is an original aesthetic form in the field of stele science that refers to a historical introduction from the Central Plains to the southwest ethnic region, and derivative development, which has its specific historical stage, and the style and calligraphy have exemplary significance, thus forming a unique system in stele science and creating a strange and ancient aesthetic form. Putting forward this concept is conducive to clarifying a main line from the complex epigraphy, and defining it at a high level with the academic significance of aesthetics under the constraints of the debate over the origin of the book style and the local style of calligraphy, so as to be more conducive to the dissemination and promotion of culture. "Planing aesthetics" has typical characteristics and status in a general sense, and can also be applied to related art types and forms. This concept will be a complex historical and artistic vague vision, hoping to interpret it broadly and far-reaching, highlighting the source of wisdom for the revitalization of Chinese culture!
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