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For epitaphs, I believe that readers who love calligraphy are no strangers.
However, do you know the difference between an "epitaph" and a "tombstone"? What are the "inscriptions" and "shrines" that we often see in the names of calligraphy works?
What are the different stylistic characteristics of epitaph calligraphy in different periods?
In the process of epitaph calligraphy transformation, what should be paid attention to?
Yu Mingquan, a professor at Shandong University of the Arts and a member of the Calligraphy Committee of the China Calligraphy Association, will come to you one by one with "Ten Lectures on Epitaph Calligraphy Aesthetics and Linchuang".
Illustrated and illustrated, fully appreciate the beauty of the epitaph
Famous experts can easily control the conversion of Linchuang
"Epitaph Calligraphy Aesthetics and Ten Lectures on Linchuang"
Written by Yu Ming
April 2024
Price: 98 RMB
Initial preferential price: 78.4 yuan
Yu Mingquan, born in 1963, is a native of Leling, Shandong. He is a professor at Shandong University of the Arts, a member of the Calligraphy Committee of the Chinese Calligraphers Association, and a researcher at the Chinese Calligraphy Court of the Chinese Academy of Arts. He has participated in many national exhibitions and won the first prize in the 6th, 7th and 8th China Youth Exhibition. He is the author of "Between Yes and No", "I Care About the Meaning of Calligraphy", "Where is the Book, What is the Law", "Ten Lectures on Epitaphs", etc.
150 epitaph pictures
A book of epitaph calligraphy from the Eastern Han Dynasty to the Sui and Tang dynasties
Epitaph, also known as "epitaph" or "burial", "inscription", "burial", etc. To put it simply, it is an object that records and identifies the identity of the tomb owner and the tomb site, and is buried in the tomb together with the owner's coffin when buried.
As far as the unearthed objects are concerned, the epitaph can be traced back to the pre-Qin Dynasty at the earliest, indiscriminately in the Han Dynasty, and prevailed in the Northern and Southern Dynasties of the Jin Dynasty and the Sui and Tang Dynasties, through the Song, Yuan, Ming, Qing and until the Republic of China. From the perspective of calligraphy art, the epitaph not only allows us to witness the evolution of Chinese characters and the style of calligraphy art from one side, but also allows us to see another simple and heavy calligraphy style of the stele school in addition to the elegant and beautiful calligraphy lineage.
Schematic diagram of the epitaph
So, what are the differences in the calligraphy style of epitaphs in different periods?
The epitaphs of the Eastern Jin Dynasty, if viewed from the perspective of calligraphy art alone, are sluggish in glyphs, rough in carving, and not of high value. However, if you look at it from another aspect, these are not the rough and staggered works of famous artists, but they also have a bit of natural and plain simplicity.
Eastern Jin Dynasty "Wang Jianzhi's Epitaph"
Although the number of epitaphs unearthed in the Southern Dynasty is not much, it is more warm and comfortable, and there are many exquisite and elegant ones, and there are no longer the characteristics of typical official scripts and show the style of early regular scripts.
Song "Liu Huaimin's Epitaph"
The epitaph predecessors of the Northern Wei Dynasty were mostly known as "a thousand rocks competing for a show, ten thousand ravines competing for the stream", whether it was from the richness of the category, or the delicacy of the carving or the number of variety, it can be called the peak period of epitaph calligraphy.
Wei "Yuanbin Epitaph"
The vast majority of epitaphs in the Sui and Tang dynasties are square and quasi-square, neatly carved and gorgeously decorated. Its book style is rich, the law is rigorous, and the level of regular script is comparable to the Tang tablet on the ground.
Sui "Epitaph of the Palace of He"
After the Song Dynasty, the ink blots handed down from generation to generation became more and more abundant, and the artistic and reference value of the epitaph rubbings after the "second creation" by the carver was of little significance, so the epitaph calligraphy appreciation part of this book also made a brief treatment of the epitaphs after the Song Dynasty.
If you want to further appreciate the style of epitaph calligraphy from the Eastern Han Dynasty to the Sui and Tang dynasties in 700 years, the fifth lecture of this book "Appreciation of Famous Epitaph Calligraphy" and the sixth lecture "Appreciation of Newly Unearthed Epitaph Fine Calligraphy" are full of 110 pages of content will answer for you!
10 organic chapters
From history to art, epitaph calligraphy is a good helper for advanced advancement
People have always invested most of their energy in epitaph calligraphy, and ignored the specific content of epitaph inscriptions. Without the understanding of the basic knowledge of epitaphs, the evolution of the form and epitaphs, there is always a lack for epitaph calligraphy learners.
Regarding the "epitaph inscription", Yu Mingquan discussed in the first lecture:
Epitaph inscriptions in a standardized and complete format are clearly hierarchical, generally writing the era, official position, name, place of origin, ancestral title and official rank, etc., and then writing rhyme inscriptions, and finally attaching the resumes of the tomb owner and his wife, burial place, family history, children, etc. ...... If you do not understand the basic format and norms of epitaph inscriptions as a special stylistic style, and are not familiar with the syntax of allusions, especially the idiomatic words in them, it is difficult to read them through clearly. In this way, when we learn to copy the art of calligraphy, we can only see the "characters" but not the "things", and we only know one and only trace the shapes of the characters without knowing the other. As a researcher of calligraphy, familiarity with the text content of the copying template is a minimum basic requirement.
In line with this proposition, each work in the fifth and sixth lectures of the epitaph calligraphy overview is compiled according to the abbreviation of the epitaph, the full name of the epitaph, the period of publication, the size, the style, the number of lines, the number of words, the place of origin, the place of Tibet, the description, the introduction of the subject (background), and the characteristics of calligraphy. In contrast, most of the similar books published on the market only show the name of the specific inscription, and it is rare to see the date of publication and unearthed information.
The introduction of the "calligraphy characteristics" of epitaphs is different from the general discussion of general connoisseurs, and almost every work included in this book has made a detailed analysis of the techniques in combination with specific character examples, and provided corresponding suggestions for practice. Taking the classic "Meng Jingxun's Epitaph" as an example, the author analyzed:
The calligraphy of the Zhi is in the middle of the line, with the meaning of subordination, the square is neat and steep, tactful and smooth, and has great artistic value. The pen is mainly a square pen, and the round pen is also applied, mellow and interesting, compared with other epitaphs of the Northern Dynasties more graceful, such as "day", "such as", "month", "enjoy", "have", "so" and other words, strong and vigorous and graceful. Horizontal paintings are oblique, uneven, full of energy, such as "ten", "training", "none", "appropriate" and other words of the horizontal painting, although the left and right height is obvious, but the whole word is positive and symbiotic, without losing balance; The skimming and painting are relatively long and stretched, such as the words "writing", "husband", "outside" and "dao"; The knot is compact, with the typical characteristics of Weibei's "oblique painting tight knot" and "low left and high right", with diastolic, sparse and obvious, pitching to the back, each with its own posture. There are radial, there are lower corners elongated, there are left and right opening, such as "Xia", "Six", "Gui", "Cheng", "Shi" and other words, thousands of postures, staggered, in the natural and strict order, and many steep and steep meaning, quite the style of "Zhang Menglong Tablet"; The chapter layout is sparse, the writing is relaxed, and it is both smart and lively, and it is cool and regular. Although it has a bounded character, it is not rigid. You can refer to those who are close to the style such as "Zhang Menglong Tablet" and "Li Bi's Epitaph", and we should not only pay attention to their similarities, but also distinguish their differences.
Wei's "Epitaph of Meng Jingxun"
Wei "Zhang Menglong Monument"
More than 30 years of creative and teaching experience
Theory and practice are grasped with both hands
For popular calligraphy readings, there are mostly "material porters" on the market, and there are not many such as "Epitaph Calligraphy Aesthetics and Ten Lectures on Linchuang" that can be deeply explored in "popularization", which has a lot to do with the author's ability to think theoretically and practice calligraphy.
For example, in the understanding of epitaph calligraphy, the academic community basically adopts Sha Menghai's view that the classification of epitaph calligraphy types in the Northern Wei Dynasty basically adopts Sha Menghai's point of view, that is, the style of the early Northern Wei Dynasty belongs to "oblique painting and tight knots", and the later style is "flat painting and wide knots". On the basis of affirming the views of the predecessors, the author adds:
Although the aesthetics of epitaph calligraphy are very important, as a comprehensive analysis of the artistic characteristics of epitaph calligraphy, "using the pen" is also a key factor that cannot be ignored. Otherwise, mechanically imitating the appearance of the knot may greatly weaken the comprehensive grasp and in-depth understanding of the aesthetics of epitaph calligraphy.
Wei "Zhang Xuan's Epitaph"
Based on this, in the eighth lecture "A Brief Analysis of Epitaph Practice Techniques", the author focuses on the content of "pen use" in addition to knots and character gestures. Taking "Zhang Xuan's Epitaph" as an example, the author has made a specific analysis of dot painting, horizontal painting, vertical painting, skimming painting, folding painting, picking painting, etc., such as his analysis of "dot painting":
Although the dot painting is small, it is very important to play a role in the regular script, and it can be used well to start the eye, otherwise it will also make the whole character lose its spirit. So Jiang Baishi said: "The one who points is the eyebrows of the word. "Like all regular scripts, the dot paintings in "Zhang Xuan's Epitaph" should strive to be full and cut, and most of them should be pressed back after Lu Feng went straight in, and he gently returned to the front when he closed the pen. Among them, the side points should be stable and pretty, such as "branches" and "Yu"; The flat point should be gradually pressed after Lu Feng entered, and it was written in a short horizontal shape, such as the word "good"; Pick and pinch points, and skimming points should pay attention to the degree of pen tip after entering the paper, and strive to cut thick and heavy, such as "no", "times" and other words; There are many second and third points in the three-point water, which is a more common way of writing in Wei Zhizhong, and Tang Ouyang also has a similar situation in the regular script. When writing three points in a row, it is necessary to pay attention to adjusting the pen in time to make it echo and coherent, such as the word "Qing".
"Zhang Xuan's Epitaph" "branch", "Yu" and "good" examples
"Zhang Xuan's Epitaph" "no", "times" and "Qing" words
Although epitaphs have brought useful inspiration and reference to our calligraphy creation, they are different from the classical theology characterized by a high degree of perfection and maturity of techniques, so when we learn from them, we must make their style characteristics be reasonably and effectively transformed in our creative process. What should we pay attention to in the process of converting from copying to creating?
In this regard, Mr. Yu Mingquan combined his more than 30 years of creative and teaching experience to give practical and effective suggestions on penmanship, knots and calligraphy.
For example, in terms of penmanship, the author believes that Qi Gong's statement of "seeing the brushstrokes through the blade" is correct, and it is not wrong to "see" all kinds of "brushstrokes", even if it is really "wrong", there is no need to make a fuss, and it is necessary to pursue the "orthodox brushwork" in it. The key is to maintain your own independent aesthetic ideas, and to write a unique taste from "wrong" to "wrong" through brilliant ideas.
Hu Wen then came to "Zhang Xuan's Epitaph" (detail)
In terms of knots, it is necessary to carry out necessary transformation and refinement of the knots according to the specific situation, and the type of knots that are free and casual and the calligraphy is relatively coarse, rather than mechanically blindly copying them. The so-called process of "transformation and refinement" is the process of analysis and reengineering of "removing the rough and extracting the fine, removing the false and retaining the true".
Yu Mingquan's "Two Poems of Li Bai" fan
In the transformation of the calligraphy, that is, the "Wei style of grass", including epitaphs, it is necessary to consciously incorporate the Wei tablet penmanship (including the knife technique of the inscription) and the concept of "golden stone breath" in the creation process of the cursive script, which not only requires the calligrapher's specific writing practice, but also requires a variety of cultivation talents to comprehend, comprehend and express.
Zhao Zhiqian "Codex with Xingfan"
More exciting content 👇 One-click purchase to instantly unlock the full content of the book
Illustrated and illustrated, fully appreciate the beauty of the epitaph
Famous experts can easily control the conversion of Linchuang
Epitaph calligraphy aesthetics and ten lectures on creation
Written by Yu Ming
April 2024
Price: 98 RMB
Initial preferential price: 78.4 yuan
This book is the work of Yu Mingquan, a professor at Shandong University of the Arts, for 20 years, and a new revision and comprehensive upgrade of the previous "Ten Lectures on Epitaphs". The book combines 200 exquisite illustrations and 10 organically related chapters to show the historical evolution and artistic value of epitaph calligraphy from the Three Kingdoms to the Sui and Tang dynasties in an all-round way from both theoretical and creative aspects. Among the ten lectures, the sixth lecture "Appreciation of Newly Unearthed Epitaph Fine Calligraphy" is a new content, and the rest of the chapters have been expanded on the original basis, especially the tenth lecture "The Creation and Transformation of Epitaph Calligraphy" has greatly increased the author's creative experience of epitaph calligraphy and high-definition work plates, which has great reference value for professional learners and enthusiasts of epitaph calligraphy.
The epitaph calligraphy of the two Han Dynasty, mature in the Northern Dynasties, and flourished in the Sui and Tang dynasties, its number is numerous, the style is complex, and the calligraphy is exquisite, which is breathtaking. Some of the classic masterpieces in the epitaphs have become the models of regular script that we must write when learning calligraphy today, and have become the only way for us to understand the Kai style of the Sui and Tang dynasties and to get a glimpse of the calligraphy style of the Wei and Jin dynasties.
——Yu Mingquan
丨Book Catalog丨
Lecture 1: The Origin of Epitaphs, the Evolution of Forms and Epitaph Inscriptions
Lecture 2: The Epitaphs of the Three Kingdoms, the Two Jin Dynasties, and the Prosperity of the Cursive Writing Style
Lecture 3 Epitaph Statues of the Northern Wei Dynasty and Wei Tablet Calligraphy
Lecture 4: Sui and Tang Epitaphs and Tang Kai Rules
Lecture 5 Appreciation of Epitaph Famous Calligraphy
Lecture 6 Appreciation of newly unearthed epitaphs and calligraphy
Lecture 7 Mandarin Duck Seven Zhi Zhai and Thousand Tang Zhi Zhai
Lecture 8 Brief Analysis of Epitaph Practice Techniques
Lecture 9: The Controversy over Inscriptions and the Aesthetics of Epitaph Calligraphy
Lecture 10: The Creation and Transformation of Epitaph Calligraphy
丨Wonderful Book Shadow丨
Chen Zhongkang "Ten Lectures on the Origin of Chinese Calligraphy" Hong Houtian "Ten Lectures on Calligraphy Techniques and Concepts" Chen Hailiang "Ten Lectures on the Classic Calligraphy Style of the Past Dynasties" Qiu Gaochi "Ten Lectures on the Art of Seal Calligraphy" Liu Hongbiao "Ten Lectures on the Contemporary Image Shaping of Calligraphy Art" Yu Mingquan "Ten Lectures on Epitaph Calligraphy Aesthetics and Linchuang" Original price: 508 yuan
Preferential price for book bundles
355.6 yuan
The "Forum of Contemporary Powerful Calligraphers" series aims to help readers solve the technical and conceptual problems in the creation of calligraphy through the presentations of contemporary powerful calligraphers. The progress of contemporary calligraphy in terms of technique is obvious, and many powerful contemporary calligraphers have done a lot of exploration, and they also have their own "unique skills", and we invite them to share their "unique skills" that they have explored for decades, in order to benefit readers.
Considering that not every young calligrapher who is interested in calligraphy has the opportunity to ask for advice from famous calligraphers in person, we have selected representative issues in calligraphy learning, and shared the private lessons of famous calligraphers in the form of "forum" to explain to readers the techniques and concepts in calligraphy practice and other related issues.
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