Kang Youwei's Manuscript on the Republican Form of Government Collected by the South China Sea Museum Selected from Kang Youwei's Handwriting
Manuscripts and letters are an important part of Kang Youwei's calligraphy art, and these daily handwritings are in line with his creations of banners, horizontal cloaks, couplets, naves, fans, etc. in each period and the calligraphic ideas behind them. He has a strong artistic ambition to be unique and founded, so his calligraphy has a strong personal face. If the three words of "humble", "heavy" and "big" are used to describe Kang Youwei's large-character works, then his codex works can be summarized as "frank and astringent, and simple in strangeness". Kang Youwei Codex style examination of Jindan
A "Guangyi Zhou Shuangyi" fixed the image of Kang Youwei as a qing dynasty stele scholar, and his majestic and majestic works of large characters are the best interpretation of his theory. And his fluent codex has caused doubts in the academic community, and some people say that his codex belongs to the Thesis scholars, and most of them think that his calligraphy theory and practice contradict themselves, but in fact, it is not. The Guangyi Zhou Shuangyi is a sign of Kang Youwei's early theory of calligraphy, and his lifelong calligraphy philosophy is changing and developing, if you can not discuss it from his middle and late years of calligraphy, you can not objectively and comprehensively understand Kang Youwei's complete calligraphy thought, nor can you accurately comment on his codex works.
Kang Youwei Xingshu to Wu Xianzi Shuzha Nanhai Museum Collection from "Kang Youwei Handwriting"
Yi Kang Youwei's calligraphy origins and his codex style
Kang Youwei's calligraphy process, we first examine from the self-description in his "Guangyi Zhou Shuangyi":
I am eleven years old, the ancestor of the professor Gong... The ancestors taught the "Treatise on Le Yi" and the Book of Ou and Zhao, and the lessons were quite strict. However, the sex is lazy, the family has no Jiatuo, and it is impossible to work for a long time. Will crown, learned from Mr. Zhu Jiujiang... Received the Northern Song Dynasty Tuo's "Liquan Ming" linzhi, the first understanding of the ancient people's ink qi penmanship, rarely entered, still bitter withering. Later, I saw Chen Lanfu Jingqing, saying that "Liquan" is difficult to learn, and Only Xiao Ou's "Daoyin Monument" can be followed by the ear. Xi Zhiguo's fruit was dense, and it was known that Chen Jingqing was able to do it here. Because of the simultaneous taking of "Gui Feng", "Yu Gonggong", "Xuan secret Pagoda", "Yan Family Temple" Linzhi, it is less to understand the structure, although the cover is a small road, it has no reason to enter. Occasionally and xingcao, take Sun Guoting's "Book Genealogy" and "Ge Ti" model, Jiang Yaozhang is the most known as Zhang Zhi, Suo Jing, Huangxiang Zhangcao, which is rare at the time, because of mechanics. Self-contemplation of the various theories, and fall into the Su and Rice Mortar. Slightly corrected Aether Fu's "Declaration", "Rong Ru", and "Recommended Season Straight" posts.
It can be seen that Kang Youwei made great efforts in the study of Thesis in his youth, starting from Wang Xizhi's Xiaokai's "Treatise on Le Yi", and then successively visited Ouyang Qian, Zhao Mengfu, Ouyang Tong, Pei Xiu, Liu Gongquan, Yan Zhenqing, Sun Guoting, Chung Sui and other books. Zhu Jiujiang was a teacher in his youth and had a great influence on his learning and calligraphy. He received careful guidance from Zhu Jiujiang at the Lishan Caotang, learned Zhu Jiujiang's writing style, "false fist and real finger, flat wrist vertical front", and he also received a rare copy of the inscription collected by Zhu Jiujiang for systematic study.
Kang Youwei Xingshu Poems Presented to Gong Wang Zha Selected from "Twentieth Century Calligraphy Classics : Kang Youwei"
At that time, Zhang Yanqiu urged Kang Youwei to "translate the texts, it is better to study the stele", and Kang Youwei said that it was difficult to quote Bai Shi Felt Qiu. And Kang's translation of the thesis of the thesis is still derived from Mr. Zhu Jiujiang, who also said in the "Guangyi Zhou Shuangyi":
Read less of the Shuowen, taste the seal, bitter "Yishan" and the tastelessness of Yang Bing. Ask Mr. Jiujiang, saying that the close person Deng Guanbai is the first seal. Because of the search for the city of Guangdong, suffering. Entering the Beijing Division at noon is a big purchase. Because he had hundreds of han, Wei, Six Dynasties, Tang, and Song tablets, he calmly played with the rope, and the next pen was quite far from the custom, so he knew that the study of the thesis was not enough.
It can be said that Zhu Jiujiang played an important role in the formation of Kang Youwei's early calligraphy thought. Kang Youwei once recalled the situation of studying in the Lishan Caotang in those years: "Mr. Lishan has a law, has a degree of progress and retreat, has a strong record of knowledge, discusses every matter, discusses a study, runs through the present and ancient times, can cite his words, send out the foundation of the first holy road, and cultivate the righteousness of his lover." He also commented on his calligraphy cloud: "Mr. Zhu Jiujiang, the first teacher, worked deeply in calligraphy, and his calligraphy originated from the plains, and was written in Europe and Yu, and had new ideas... I look at the hai nei can write, but Weng Shangshu uncle is like it, but the strength of the pen is far away. "Extremely high praise, even praise.
The aforementioned "Noon" should be regarded as a watershed moment in Kang Youwei's transition from the study of the thesis to the study of steles. In the eighth year of Guangxu (1882), Kang Youwei was 25 years old, and in June of that year, he went to Beijing to take the Shuntianxiang examination. In Beijing, you travel to the Guozijian, watch the stone drum, buy inscriptions, and talk about the study of gold and stone. The way back to the prosperity of Shanghai, the knowledge of the Western people's governance of the book, is a big purchase of Western books to return, self-interpretation, a great lecture on Western learning. In calligraphy, it is a great study of steles. In the fifteenth year of Guangxu (1889), Kang Youwei wrote the "Guangyi Zhou Shuangyi", honored Wei Beitang, and advocated the study of steles, setting off a boom in steleology. That is to say, Kang Youwei's epigraphical thought was formed very early, of course, this is the result of Ruan Yuan and Bao Shichen as the foreshadowing.
Kang Youwei Xingshu to Wu Xianzi Shuzha (including envelopes) South China Sea Museum Collection selected from "Kang Youwei Handwriting"
For the formation of Kang Youwei's calligraphy style, in addition to the above self-description of his early study of books, there are many theories, as if it were a mystery. Here are five types of them: Ma Zonghuo said in the "Pen Talk of Xia Yue Lou": "It is probably the Lord of the "Shimen Ming", and the "Jing Shiyu", "Sixty Artificial Statues" and "Yunfeng Mountain Stone Carvings" are used as references. Xiang Shenyun: "The calligraphy of the new life has the atmosphere of vertical and horizontal strangeness, and commentators say that it was entered into the "Stone Gate Inscription" by Chen Xiyi, and it may be ran. Zhu Jia said in the "Book of Fools": "The tombstone of the mother of the book, Gu Tried to imitate the "Dragon Face", but the posture was close to the "Sixty Artificial Statues", is it also three folds here? And Shang Chengzuo said in A Little Experience in the Process of Learning Calligraphy: In his childhood, he wrote ou, Yan and other monuments, and also wrote About Zhao Mengfu, and worked the Wei monument. Tang Kaiyuan's nineteenth year of "Records of a Thousand Autumn Pavilions", engraved on the rocks on the bank of a certain river in Ba County, Sichuan Province, not many people know, after Kang shi obtained this expansion, it was regarded as a treasure, deliberately copied, and further exaggerated on the basis of this moment's gesture, so as to become a 'Kang Body'. I contrasted this with Kang and immediately stripped him of his disguise. Sha Menghai said in "Nearly Three Hundred Years of Calligraphy": "His intentions are broad and broad, but his posture is purely from Wang Yuan... Deng Shiru and Zhang Yuzhao were the ones he was most fascinated by, and he often participated in their writing when writing books. But there is another one, it is he who writes large characters and writes small characters to make the transformation method come out of itself, and he himself has not explained it, that is, Yi Bingshou. Try to see the two of them casually writing, drawing flat lengths, twists and turns, how similar. Some of the several claims here have been self-described, some have been empirically verified, and some are just one family's words. Kang Youwei's study of books is not death, but will be able to mean, Kang Youwei's seventh daughter Kang Tonghuan's son-in-law Li Yunguang disclosed in the "Records of Mr. Kang Nanhai's Calligraphy": "Regarding the fact that Mr. Nanhai's inscription can leave his appearance and gain his god, I can also give an example of learning from Zhang Yuzhao, Qingru said in the article "Lishan Dongshu and Kang Liang" that Mr. Nanhai 'suddenly admired Zhang Yuzhao in his later years, and copied Zhang Shu every day. ’...... Learning inscriptions is the same as reading ordinary books, but only carefully appreciate, never copy. He learned zhangzi, and two screens were very satisfied with writing, and after writing, he also boasted about it. In fact, regarding his teaching method, Kang Youwei in his later years also made it very clear in his conversation with his student Liu Haisu, saying:
I was born in the era of the Imperial Examination, with the light fang wu da xiao kai as the ladder to enter the body, more than the size of the two European, although I strive for the wind and bone, but also can not be unique. After the northern tour, with the collection of the golden stone tablet version for self-amusement, the Collector of Guan Jingshi expanded thousands of books, and only the Sheng Boxi family also had hundreds of kinds, and fang knew the beauty of Han and Wei calligraphy. Painstakingly practicing "Dragon Yan", "Shi Men Ming", "Spirit Temple Stele Yin", and the most handsome "Sixty Artificial Statues" in the Wei Stele, gradually gained the interest of Canggu Shenxiong, like a gentle and rigid force. Where the stroke of the stroke is taken up, take more of the "Stone Gate".
He also said to Liu Haisu:
It is not advisable to only read the inscriptions of one family and one school, and paint the ground as a prison. Seeing more and hearing more, realizing the truth by yourself, although the teacher follows the good temptation, the road needs to be walked by himself, otherwise he can be a book writer by memorizing the ancient people's books, is it not easy to write?
Kang Youwei Xingshu and Gongwang Shizha Selected from "Twentieth Century Calligraphy Classics : Kang Youwei"
Regarding the method of learning calligraphy, Kang Youwei once described himself as "using the Bao Shen Bo method for the monument." Shen Bo asked Yu Yi bo, through Zhang Lianqing's intention and knew the next pen, using ink to immerse in the Southern and Northern Dynasties and know the qi rhyme fetal grid. It can be seen that he studied and studied the inscriptions of the Southern and Northern Dynasties. The transformation from theology of theology to the study of epigraphy is consistent with his idea of changing the law, and he applies the classification of ancient and modern classics to calligraphy, and he creatively believes that:
I judge it now, the book has ancient learning, there is modern learning. Ancient scholars, Jin Ti, Tang Stele also, the income is mostly posted, and all Liu Shi'an, Yao Ji Chuan, etc. are also. Today's scholars, the North Stele and the Han Seal, have received mainly stele, and Fan Deng Shiru, Zhang Lianqing, etc. are also. There are no people who are not limited by the atmosphere, and the system, articles, and scholarship are all sometimes ignored, thinking that it is a big boundary. The beauty and evil work are clumsy, and can only be compared with this world. Scholars are familiar with the changes of ancient and modern times, and when they look at the ancient theory of the two-body, they are not confused. If there is a change in the future, then ten thousand years are vast, there is no end, and it is not possible to see the private measurement of the eyes and ears.
In addition, he also used the new and old party struggles as metaphors for the controversy between the monument and the thesis, which shows that he injected calligraphic thought into the idea of changing the law, and the transfer of the stele from the post to the monument became the inevitable of Kang Youwei's calligraphic thought.
The Kang Youwei Codex is an important part of his calligraphy creation, which is integrated with his creations of banners, horizontal cloaks, couplets, naves, fans, etc. in each period, and is also integrated with his calligraphic ideas in each period, which corroborates each other. He has a strong desire to be unique, to open a sect, so his calligraphy has a strong personal outlook, his codex also shows a unique calligraphy style, if you use clumsy, heavy, big three characters to describe Kang Youwei's large characters, then his codex works are frank and jerky, and the strange is simple.
Regarding the remains of the Kang Youwei Codex, the National Library, Shanghai Museum, Tianjin Library, Guangdong Nanhai Museum, Guangdong Zhongshan Library, etc. all have Kang Youwei Codex (including manuscripts, letters, notes, inscriptions, poems, etc.), and the printed distributors of Imagami have the most detailed publications, one is the "Kang Youwei Handwriting" published by Lingnan Fine Arts Publishing House, which is a batch of manuscripts and letters that Kang Youwei stored in his disciple Wu Xianzi in that year, with 105 positive editors and 8 deputy editors. It was selected from the same batch of more than 300 Kang's manuscripts that were entered into the South China Sea Museum in December 2001. The contents include: Kang Youwei's handwritten "Datong Shu", "Theory of Republican Political System", "Theory of Salvation", "The False Monarch and the Republic of The Public Revelation" and other treatises, as well as letters, notes, poems, business cards, warrants, letters of appointment, etc. The second is the "Kang Youwei Manuscript" published by Elephant Publishing House, which is based on the authentic manuscript of Kang Youwei existing in China, with a total of six kinds of eight volumes, including "Datong Manuscript", "Poetry Manuscript", "Analects of analects", "Spring and Autumn Pen Cutting Dayi Micro-Speech Examination", "LiYun Annotation Draft", "Mencius Micro Draft", all of which are color photocopied according to the original size. Among them, the "Poetry Draft", "Analects annotated Draft", "Spring and Autumn Pen Cutting Dayi Micro Speech Examination", "Li Yun Annotation Draft", and "Mencius Micro Draft" are all photocopied and published for the first time. The third is the "Manuscript of Kang Youwei's Travels to Oxford and Cambridge Universities" published by the Beijing Library Publishing House, which photocopied the original handwritten manuscript, which he wrote after visiting Oxford University from July 21 to 24, 1904, and cambridge university from August 11 to 13. The whole manuscript is divided into two volumes, which not only describes in detail the overall situation of the two schools in Oxford and Cambridge at that time, including the school exterior, library, museum and other settings, but also compares and comments on the Chinese and foreign education systems. Fourth, the "Institute of Modern History of the Academia Sinica of Taiwan" compiled a large volume of "Kang Youwei's Handwritten Manuscripts", and 184 manuscripts of Kang Youwei's handwritten manuscripts were collected by the "Institute of Modern History of the Academia Sinica in Taiwan", including five categories of handwritten manuscripts, pen talks, family letters, manuscripts, and poetry manuscripts, which were originally stored by kang's descendants. These four large catalogues reflect the changing trajectory and characteristics of Kang Youwei's codex style.
The definition of the second "stele line" and Kang Youwei's "combination of stele and post" proposed
Academic research on the academic value of Kang Youwei's manuscript believes that the manuscript completely presents the trajectory of changes in Kang Youwei's thought, which can not only fill the gap in historical books, but also examine the formation of his ideas. In addition to its important political, historical, philosophical, literary, and philological values, Kang Youwei's manuscripts also have calligraphic value. This article takes the codex after Kang Youwei Guangxu fifteen years (1889) wrote the "Guangyi Zhou Shuangyi" as the main research object, from the perspective of calligraphy, it is believed that Kang Youwei codex has the characteristics of "stele line", which belongs to the combination of stele and post, and this feature continues with time, especially after the failure of the Pengshu reform method and exile abroad, it has become more and more prominent. As Kang Youwei's own inscription combined with the creation method, it has gradually changed from unconscious to conscious.
Before discussing the "stele line", we must first clarify the concepts of steleology and theology. The so-called epigraphy, one belongs to the category of epigraphy, is the study of the history, function, shape, authenticity of the epigraphic version; the other is the study of the calligraphy art genre with the study of inscriptions (especially the north stele) as the main object of the teaching, which is called the stele school. It should be emphasized that epigraphy is a product of the Qing Dynasty, and can also be specifically called Qing Dynasty epigraphy, we take Ruan Yuan's "Theory of The North Stele South Thesis" and "The Theory of the Southern and Northern Calligraphy School" as the theoretical symbols, with the advocating of the North Stele calligraphy as an important feature, the previous advocating of han steles and the stele breaking the post called the Former Stele School, and the later advocating of the Northern Dynasty Stele Edition as the main called the Stele School. The so-called Theology is a concept put forward relative to the Stele School after the birth of the Qing Dynasty Epigraphy, one is a study of the source of the Fa Ti, the quality of the version, and the authenticity of the handwriting; the other is the study of the Wei and Jin masters (especially the Erwang) Codex and later the Fa Ti as the main object of the study of the calligraphy art school, this school is called the Theo School.
It should be noted that there have always been many theories about the definition of epigraphy, one of which refers specifically to the north stele. Kang Youwei's "Guangyi Zhou Shuangyi" Yun: "Up to Xian and Tong, the great broadcast of stele studies, the three-foot child, the society of the ten rooms, do not speak the northern stele, write the Wei body, and cover the customs." Zhang Zongxiang's "Theory of the Origin of Calligraphy" Yun: "Since Shen Bo, the stele has become famous, and those who can become famous are only Three people, Zhao Zhiqian, Zhang Yuzhao, and Li Wentian." "The second said the North Stele and the Qin and Han Stele inscriptions. Sha Menghai's "Calligraphy in the Past Three Hundred Years" Yun: "Usually talking about epigraphy, it includes the Qin and Han seal inscriptions. The Three Northern Tablets and the Tang Tablets, Ma Zonghuo's Shulin Zaojian Yun: "After jia dao, the thesis began to flourish and decline, and the stele learning was able to take advantage of it... The intersection of Jia Dao can be described as the Tang Dynasty... On the occasion of Xiantong, it can be described as the Northern Monument Period... Epigraphy is not limited to Tang and Wei, but can be far from imitating the Qin seal, the second emperor Han Fen, Si ze so-called Haojie people, will be moved to the vulgar and not to the vulgar. The author believes that the definition of Qing Dynasty epigraphy should be based on the "Han Stele" as an indiscriminate reference, with the "North Stele" as the symbol, if there is no sign as a watershed to define, the Yuanming people who are good at sealing can also be called the Stele Sect? In the early Qing Dynasty, the eight monsters of Yangzhou were broken by the stele, and there was no need to call it the former stele sect but directly called the stele school. So contemporary scholars of Yu Shinan, Chu Suiliang and other Tang monuments also belong to the stele school? Only by using the "North Stele" as a symbol can we accurately locate the Qing Dynasty epigraphy, so as to further expand the discussion of the issue of epigraphy, which does not mean that the teaching object of Qing Dynasty epigraphy is limited to the North Stele.
The concept of "steleology" and "theology of theology" was precisely the first to be put forward by Kang Youwei, who believed that "the book of the Jin people was circulated in the the book of the Jin dynasty, and its true deeds are still there in the Ming Dynasty, so the Song, Yuan, and Ming people are the thesis and the study of the theory." He also believed: "The prosperity of epigraphy is also due to the great prosperity of the golden stone." The indiscriminate and flourishing of epigraphy in the Qing Dynasty created conditions for the emergence and development of "stele lines".
If the xingshu is classified, it can be roughly divided into three categories: one is the Second Wang Xingshu (which can be called Wang Xing), the other is the Yan Zhenqing Xingshu (which can be called Yan Xing), and the other is the Stele Xingshu (which can be called the Stele Line). The so-called stele line is to integrate the writing method of the stele in the book, becoming a new style of the book outside the book of the Thesis school, which is relative to the thesis school after the birth of the Qing Dynasty stele school. The stele line is divided into two stages of development, one is that the former stele scholars have integrated the Han stele method into the line book, which can be called "li xing", typical of which is such as the jinnong who "overflows from the Han people and becomes a grass". Second, the stele scholars used the method of Wei Bei to integrate into the xingshu, which can be called "Wei Xing", typical of which is Zhao Zhiqian who "walked in and out of the North Stele". It should be noted that the pre-Qing Dynasty stele school and the Xingshu inscription (including the inscription) before the birth of the stele school cannot be included here, which is a concept used after the birth of the Qing Dynasty epigraphy, and does not include the Xingshu inscription of the Thesisian calligrapher.
We found that whether it is a Han stele or a Wei stele, it is difficult to find a trace of the book, the Han stele is attached to the stele with a seal, and the Wei stele is the embodiment of the kaishu, which has no connection with the grass. That is to say, if the stele calligrapher wants to write a line book, he must be inseparable from the thesis school, or move the inscription, or refer to the post, and those who participate in the post can be considered to be "the combination of stele and post". The so-called combination of stele and post (also known as stele fusion) is to combine the stele technique and the thermo technique, integrate the two into one, due to the degree of integration of the stele and the post, the external display may be different, there are biased towards the stele, there are biased towards the post, in short, these belong to the combination of stele and post. The development of the combination of stele and post can be divided into two stages: one is to combine with the Han stele, and the other is to combine with the Wei stele (north stele), the former sprouted in the late Ming and early Qing dynasties, and the latter prevailed in the middle and late Qing dynasty. And these two kinds of combination, not limited to the combination of the "stele line", the letter and the line book, the scope should be larger and broader, the concept of the combination of stele and post covers the "stele line", "stele line" is one of the important manifestations.
The concept of combining the stele with this is also the first clearly proposed by Kang Youwei. From the perspective of the development of calligraphy history, the author believes that shi tao, Jin Nong, Zheng Xie, Yi Bingshou, Bao Shichen, He Shaoji, Wu Rangzhi, Zhao Zhiqian, etc. in the Qing Dynasty have all been involved, from the eight monsters of Yangzhou to the combination of stele and post of the late Qing Dynasty stele scholars, which can be seen as the development trajectory of the combination of stele and post creation mode.
Kang Youwei Xingshu Title Ruan Wen Da Statue Selected from "Kang Youwei Handwriting Authentic Handwriting"
Kang Youwei not only inherited the cursive writing style from the Thesis school of calligraphy, believing that "Jianzha is dominated by Yanli, strange and wonderful, and magnificent and charming, then the thesis is still good", but also from the north stele to find the cursive brushwork, the cursive in the north stele is almost nothing or rare, he found several lines of words with a slight cursive meaning from the stele of the "Zhang Raptor Stele", he said: "The stele is a real book, and there are also the length of the concurrent books, such as "Zhang Ronglong Stele Yin", the pen power is amazing, the mood is easy, and it is the first in the Shi Ben Xingshu. The few lines of the Wei Stele that have only survived in the world are just like Kang Youwei's life-saving straw, and they also belong to the better than nothing.
In order to realize the combination of stele and post, two conditions must be met, one is to have the experience of theology, and the other is to have the pursuit of steleology. In order to successfully achieve the combination of stele and post, it is also necessary to make the two stele not rigidly grafted, but naturally integrated. Kang Youwei's calligraphy in his youth belonged to the Thesis, and according to his self-description in "Guangyi Zhou Shuangyi", he worked in books such as Wang Xizhi, Ouyang Qian, Zhao Mengfu, Ouyang Tong, Pei Xiu, Liu Gongquan, Yan Zhenqing, Sun Guoting, and Chung Xuan. Later, Kang Youwei "Entered the Beijing Division at noon and was a big purchase." Because he had hundreds of han, Wei, Six Dynasties, Tang, and Song tablets, he calmly played with the rope, and the next pen was quite far from the custom, so he knew that the study of the thesis was not enough. It can be seen that he learned from the thesis. After a long period of training in epigraphy, he reflected on himself and turned to a new understanding of the theology. According to Ren Qisheng in the article "Kang Youwei's Lectures in His Later Years and His Death": "In recent years, when I was sorting out the suicide note at Kang Tongbi's house, I saw a letter to a certain Jun, saying that the previous work "Book Mirror" was issued for some purpose, and if I continue the "Book Mirror" now, I should be honored. Quite contradictory. Later, the author read the letter mentioned by Ren Qisheng, that is, Kang Youwei's "Letter to Zhu Shi obscure" in the fourth year of the Republic of China (1915), at the age of 58, from which we can see that his thinking changed from a monument to a lofty post, he said:
He also asked about the calligraphy style and inscription, which is different from the "Book Mirror" stele, how good to ask. "Book Mirror" is mainly based on □, and to the "Book Mirror" monument, it is issued for a purpose. If the servant continues the "Book Mirror", he should praise it again. Watch it pass, and do it, and do it, and everything will be the same. Unbiased and blameless, is it a book!
"Book Mirror" is "Guangyi Zhou Shuangyi", that is to say, the 31-year-old Kang Youwei advocated the honorific monument when he wrote the "Guangyi Zhou Shuangyi", and Kang Youwei in his later years intended to honor the post. This is not a contradiction, but a trajectory of ideological transformation. From the early years of studying books in the theory, to the middle-aged and young people turning to the study of epigraphy, to the later years and reflecting on the study of thesis, Kang Youwei, who repeatedly thought and practiced the stele, finally advocated the combination of stele and post, which became stronger and stronger with age, and in the fourth year of the Republic of China (1915), in the "To Luo Tuandong on Calligraphy Book", Kang Youwei believed:
Or whoever has received from the stele and has not received the post, or has received the post, and has not received the stele, is biased. The Song Ren book, the changes are as sincere as rice, but they also have to stop at the post. If the present person is said to have learned a certain family or a certain stele, whether what he has learned is not his good stele, that is, he has won the best, and his physique is in the stele and post of his predecessors, the so-called one city, one official and one post, he has not fulfilled the amount of heaven and earth and the appearance of the gods, and it goes without saying. So in the intervening millennium, talents have sprung up, and achievements have only been achieved. Millennial scholars, can do this.
Kang Youwei Letter of Appointment Letter South China Sea Museum Collection Selected from "Kang Youwei Handwriting"
He put forward his own views on the inviolability of the two stele, which was a reflection on the basis of the early years of "Guangyi Zhou Shuangyi". Kang Youwei not only made an objective evaluation of the issue of inscriptions, but also put forward a clear view on the problem of the combination of inscriptions and posters, and he wrote in a copy of the "Seven Words of the White Book of the Qingtian Room" written in his later years:
Since the Song Dynasty, it has been studied for thousands of years, and in the past hundred years, it has begun to talk about the Northern Tablet. However, Zhang Lianqing collected the great achievements of the Northern Stele, Deng Guanbai wrote the Southern Stele and han Li without a post, and Bao Shenbo wrote the Southern Stele without a stele. For thousands of years, there has not been a collection of Northern Tablets and Southern Thesis, and the situation is also Han Fen, Qin Seal, and Zhou Zhen and Tao! Contemptible and insensitive, delusional. Kang Youwei. (Also titled) The contemptible people created this new body that has not existed in a thousand years, Shen Bu Zhengzi cultivated it and knew it, Uncle Zheng asked for knowledge and seized it, transferred it to Han Chen, and won the people!
He also has a poem: "The North Stele and the South Thesis are both? More cast Zhou Qin Pregnant Han Monument. Ignorant of qianqiu who is the author, Xiaosheng is interested in Si. On the one hand, his desire to integrate both inscriptions and posts can be seen as a kind of reflection after his debasement of monuments is too extreme; on the other hand, it shows that he has to shoulder this heavy responsibility and create a model of the combination of inscriptions and posts, the founding of the sect. In fact, there have been a combination of stele and post before, both the combination of the Han stele and the Xingshu, and the combination of the north stele and the south stele, but he does not approve of it. Kang Youwei's concept of combining inscriptions and posts in his later years made his writings more characteristic of "stele lines", which he deliberately did, and his previous writings had actually been marked with the brand of "stele lines" intentionally or unintentionally, and the combination of his inscriptions and posts was also the result of his long-term practice.
Kang Youwei Xingshu to Wu Xianzi One of the Poems collected by the South China Sea Museum Selected from "Kang Youwei Handwriting"
The natural use of the Three Thessics in the Kang Youwei Codex
The word "codex" should have been an inseparable concept from theology. The source of the thesis, that is, the Jin people's codex, Kang Youwei is called "the book of the Jin people". Ruan Yuan once expounded his different functions for the stele and the thesis in the article "On the Southern and Northern Schools of Calligraphy", and he believed:
The Southern Sect is the left wind of the river, sparsely released Yan Miao, and is longer than Qi Mu... The Northern Sect is the ancient law of the Central Plains, which is restrained and clumsy, and is longer than the list of monuments.
"Longer than Qimu", pointing out the function of the Thesis calligraphy. The advent of Ruan Yuan's "Treatise on the Southern and Northern Calligraphy Schools" and "The Theory of the Northern Steles and The Southern Thesis" was the first time in the history of Chinese calligraphy that calligraphy was clearly divided into two major schools, namely the Stele and the Thesis, which is of great significance. Kang Youwei was opposed to Nguyen Yuan's north-south division, saying:
Ruan Wenda's "North and South Book School", specifically based on the Thefhamra south, the southern school has a gentle and high pen, the widow Qi Fang Pu's widow, its meaning is to Wang Hui cross the river to the south, Lu Chen crossed the river to the north, since then, painting a chasm... Therefore, the book can be divided, the north and south cannot be divided, Nguyen Van Da is the theory, the cover of the south stele is still small, failed to meet its source, so it is vain to take the stele as the boundary, and the north and south are strongly divided.
Kang Youwei believed that calligraphy could be divided, but north and south could not be divided, although Kang Youwei and Ruan Yuan had different opinions on the issue of the north-south division, but Kang Youwei believed: "Jianzha is mainly Yanli, strange and mysterious, magnificent and charming, then the study is still shang", which is consistent with Ruan Yuan's view that "the southern school is the left wind of the river, the loose Yanmiao, and the longer than the QiMu".
Kang Youwei Xingshu to Zishan, Shaoxia, Xian'an, Junqing Shuzha Nanhai Museum Collection selected from "Kang Youwei Handwriting"
Although the 31-year-old Kang Youwei made many extreme remarks in "Guangyi Zhou Shuangyi" and tried his best to advocate the Northern Monument Drum and Shout, the function of Thessalology was clear and clear, he believed:
In recent times, the northern stele has prevailed, the theory has gradually disappeared, and the grass law has become extinct. The book is simple and convenient for personnel affairs, and it has not been abolished. However, seeing the famous scholars of the Jing Dynasty, those who are famous for their books, wearing their simplicity, are no different from the main books, and it is ridiculous that they will not be able to understand the turn and frustration.
Kang Youwei's so-called "famous scholars of the Jing Dynasty" who wrote Jian Mu and the main book did not specifically refer to who they were, and he criticized them for not knowing how to use the Thesis method to write such words as the Codex, and conversely, Kang Youwei clearly understood the function of Thessian calligraphy. In fact, not only these famous scholars in Beijing, but even the book masters such as Deng Shiru and Bao Shichen, their codexes have also become evil because they are not deep enough in the study of theology and the study of thesis.
"Jianzha is mainly Based on Yanli, strange and wonderful, magnificent and charming, then the thesis is still shang", Kang Youwei is also using this point of view to guide practice. He believes: "The thesis is based on the king's book "Ge Ti", which is rare in jiaben, but it depends on this to see the style of the Jin people, and the comfort is better than nothing. The successor to the "Ge Ti" is Pan ShiDan's "Dai Ti", although it is barren, but qing jin is gratifying. Master Baoyue's Tan Ti, although it wins with flesh, there is more than enough gas. Cai Jing's "Great View Thesis", Liu Tao's "Taiqing Lou Ti", Cao Shimian's "Xingfeng Lou Ti", as well as "Xi Hong", "Fast Snow", "Stopping Clouds", "Yu Qing", each has a good book, although it does not arrest the Jin people, you can also take a look at it and choose its author. Youyun: "Learning cursive writing first writes Zhiyong's "Thousand Texts" and "Book Genealogy" thousands of times, so as to make it a way to turn around and frustrate." From these two paragraphs, it can be seen that Kang Youwei is not only admiring the North Monument, although he believes that there are many shortcomings in the study of theology, but in the end he believes that the study of cursive writing has to learn the post, which is a fact that cannot be changed, and Kang Youwei cannot be an exception. He even criticized Bao Shichen for attributing the shortcomings of his calligraphy to the attitude of learning Jian Mu, and he said in the "Guangyi Zhou Shuangyi": "Shen Bo claimed that his books were obtained from Jian Mu, which was quite hurtful and graceful, then Yi Shaolong Wei Hu Zhen and Da Ling Jumping Tang Xiongqi, is not Jian Mu Hu? "Criticism can be described as three points into the wood.
Kang Youwei Xingshu Zhi Yifu Shuzha Selected from "Twentieth Century Calligraphy Classics : Kang Youwei"
On July 16, 1910, the 53-year-old Kang Youwei said in a letter to his disciple Liang Qichao:
To Ru xue books are very easy, now the hardness is due to the division of science, but the shortness of the Ru books in the square pen is more, not good at transport, if the book can transport round pen is better... If I like it, I still take the southern stele "Long Yan" and "Shimen Ming" and the mountains and cliffs as superstard. If the banknote is poetic, it is better to use Yu and Chu. Theoze Xiao Wang and rice are particularly strong, and the big king is rare and good.
It is clear here that Kang Youwei's writing of codexes and banknote poetry manuscripts should be based on the study of theology, which is a further interpretation of the calligraphy such as writing codexes on the basis of the "Guangyi Zhou Shuangyi". Of course, in his later years, Kang Youwei reflected on the theology of theology, so he often saw praise for theology in his remarks. Kang Youwei, who was in his thirties, saw that the stele was reprinted and engraved, and proposed that "the study of the thesis is very bad", while in his later years, Kang Youwei saw that the stele and the ink photocopy were especially numerous, so he sighed, and in the "Half-Cut Stele of Wang Youjun's Book", he believed: "According to the master's statement, this stele will be enlarged and photocopied in the future with the new European and American law. The style of the second post is more, the size of the glyph is different, and the master's intentions are also good. Looking forward to the rapid progress of the Fu Slack, snaring the whole body of the Wang clan's large and small grass, to supplement the deficiencies of the pond boundary, then Jiahui Yilin, Jin's arrest and learning, and also a small supplement! Previously, it was "the posts that have been passed down today, no matter what the family, no matter what the post, is the book that the Song and Ming people have repeatedly turned over, although the name is Xi and the offering, the face is completely different, and the spirit is especially not to be discussed"; later it is "the Half-Cut Stele and the "Holy Order", although they are the same collection, and just like chaoxia langhui, just like the strange flowers and offering rui, in the interline words, Xu has the magic of praise and dance", and the change in his understanding of the thesis is obvious. In his later years, in addition to teaching his students the North Monument, Kang Youwei was also happy to teach people to learn the post, such as in the winter of 1920, in the "Inscription Pan Ruohai's Ink", he praised Pan's calligraphy: "His calligraphy is also serene, inclusive, dashing, and exquisite, and it is from the "Great View Thesis" that I donated." The words were full of pride.
It can be seen from this that Kang Youwei advocated epigraphy from the age of 31 when he wrote "Guangyi Zhou Shuangyi" to re-examining the thesis in his later years, and his thinking gradually changed, and if he only discussed Kang Youwei's calligraphic thought from the viewpoint in "Guangyi Zhou Shuangyi", it could only be one-sided. But there is one point, writing calligraphy such as the Codex, he has always believed that "the study of theology is still good", this point is not essentially different.
Kang Youwei's poems (partial) Selected from Elephant Publishing House's "Kang Youwei Manuscripts"
Kang Youwei's calligraphy, from the list book, to the large and Chinese character line book, to the small character line book (including manuscripts, codex), the characteristics of "stele line" are weakened in turn, which is also the natural manifestation of the function of calligraphy in the work. In terms of function, when Kang Youwei writes small characters such as manuscripts, poems, and letters, in order to be fluent, the composition of the stele is naturally reduced, and some are even reduced by quite a few, and when writing large characters, he can cross the line and be magnificent, and the characteristics of the stele are vividly expressed. However, as an author, it is impossible to accurately use tablets and sometimes posts, but it is only a normal performance under different functions. Of course, kang Youwei, as a calligrapher, is not only the embodiment of practical functions in the writing of manuscripts and codexes, but also integrates his artistic feelings and artistic expressions, which is beyond doubt. People often think that in the daily handwriting such as the codex, there is not much artistic consideration, purely to meet the needs of practicality, such an understanding is obviously wrong, Kang's cloud "if the book can transport round pen is better" "if the banknote is poetic, then Yu, Chu is wonderful", indicating that these practical writing is inseparable from the use of artistic means, in fact, the two can not be completely separated, daily writing also contains the calligrapher's intentional or unintentional creative consciousness. If we look at these things alone, it seems that the Kang Youwei Codex belongs to the Thesis, but this is not the case, because the epigraphy that penetrates into Kang Youwei's blood cannot be stripped away.
Kang Youwei Datong Manuscript (Partial) Selected from elephant publishing house "Kang Youwei Manuscript"
Sikang has epigraphic features that cannot be stripped from the Codex
As a stele master Kang Youwei's list book (plaque, etc.) shows a strong characteristics of the stele school, set the length of "Shimen Ming", "Jing Shiyu", "Yunfeng Stone Carving", and integrates personal interest, Canggu Shenxiong, generous and broad. The works of large characters (including Yang Lian, Zhongtang and Banner, etc.) also show strong characteristics of the stele school, that is, the typical "stele line", which is beyond doubt, and its meteorological and spiritual flies have become the best proof of his calligraphic thought. And does his small-character writings (including manuscripts, codexes, etc.) belong to the Stele School or the Thesis School? At present, one of the academics is the Thesis school, and therefore believes that Kang's theory and practice are contradictory and misplaced, which the author cannot agree with, so it is necessary to distinguish. There are two misunderstandings here, one is to define it based on some superficial phenomena in Kang's Codex, and the other is to compare it only with Kang's early "Guangyi Zhou Shuangyi" theory. As everyone knows, from a practical point of view, Kang Youwei's codex has a time-in-sequence style evolution, which cannot be generalized; theoretically, Kang Youwei's calligraphic thought has undergone great changes in the middle and late years, and there is a process of development.
Kang Youwei Xingshu To the Sons of The Nanhai Museum Collection from "Kang Youwei Handwriting"
Let's first look at Kang Youwei's study and method of Wei Bei, and Liu Haisu recalled that Kang Youwei once said to him: "... Painstakingly practicing "Dragon Yan", "Shi Men Ming", "Spirit Temple Stele Yin", and the most handsome "Sixty Artificial Statues" in the Wei Stele, gradually gained the interest of Canggu Shenxiong, like a gentle and rigid force. Where the stroke of the stroke is taken up, take more of the "Stone Gate". Kang Youwei did not need more examples for Wei Bei's in-depth study and efforts. For example, Hu Yi once said in the "Records of Modern Scholars" that Kang's words to him: "Those who have mistaken the previous body and the sayings of the previous posts and predecessors must be swept away, and they should enter purely from the north monument." Even when he taught Liu Haisu to learn to walk grass, he asked to start with the square pen.
Fang Junqi is the main feature of The Wei Stele, and Kang Youwei's round pen often gives people the feeling of not Being a Wei Stele, which should be one of the reasons why people misread that his Codex calligraphy belongs to the Thesis school. Shen Zengzhi put forward his views on Kang Youwei's writing of a round pen, believing that "those who turned the pen without a circle in the Six Dynasties", of course, Kang Youwei did not agree with this statement. Contemporaries still have such views, not to mention today's people, it should be said that the general people's understanding of Wei Bei is very different from Kang Youwei's. In 1918, the 61-year-old Kang Youwei said in "Title Zheng Shu Qing Handwritten Poems":
Mr. Zheng Dahe, when he was a calligrapher, a calligrapher, a doctor, a master of art, everyone knew it, but he knew his calligraphy... Gai is from "Zhang Ronglong Stele Yin", and also takes "Li Zhongxuan", "Jing Jun", "Jia Sibo", "Longzang Temple" and "Fistula". All the circle writers have adopted its spirit, so that the monument is thick, and there is no sign of stagnation.
"All the circle writers have adopted its spirit, so that the monument is thick, and there is no sign of condensation." Kang Youwei's calligraphy absorbed the composition of the northern stele is a kind of round pen, not a square pen, and he criticized Zhao Zhiqian: "The gas is weak, and today's many words about the north stele are all the sounds of jingjing, then Zhao Shu's sin is also." "Also criticized" those who have recently written the Northern Monument, Uncle Zhao and Tao Xinyun, but mistakenly corrected the "Dragon Gate", so they were clumsy. He believes that "the north monument is finally the good of the Wang family, and the Wang Yuan book is inscribed in the stone gate." Feng Yi Luan Xiang Immortal Congregation, flowers and snow gathered Buddha whispered. Therefore, Kang's calligraphy is based on the expression of the will of the seal, and the same is true of the spirit of epigraphy embodied by him, which can be seen from his criticism of Zhao Zhiqian and his opposition to Liang Qichao's writing of square pens, Kang's north stele style is not a square pen style in the general sense (such as "Longmen Twenty Pins", "Zhang Ronglong Stele", etc.), but a round pen style (such as "Shimen Inscription", "Zheng Wen Gong Monument", etc.), the round pen center, the twisting edge in its writings, coupled with the flying momentum of his pen, it is easy to cause illusions, if we can not see the traces of the square pen Wei stele, we think that there is no stele , this is a misunderstanding. This is true of his large-character writings, as well as his small-character writings, so both types of books belong to the category of "stele lines". Kang Youwei subjectively believes that "Jianzha is dominated by Yanli, strange and wonderful, magnificent and charming, then the study of the thesis is still shang", but objectively he can not completely separate the stele and the post, which is one of the sources of misjudgment that the current academic circles believe that the Kang Youwei codex belongs to the theology. Coupled with the appearance of certain theological characteristics due to the function of calligraphy, people believe that the Kang Youwei Codex belongs to the wrong understanding of the theory.
Kang Youwei Xingshu Appoints Feng Zishan and Chen Xia's Handwriting Nanhai Museum Collection from "Kang Youwei Handwriting"
If you want to stage Kang Youwei's codex calligraphy, it can be divided into the post period, the stele translation period and the stele fusion period, Kang Youwei wrote "Guangyi Zhou Shuangyi" in his thirties, advocating the North Stele, so his post term is actually an early work, the stock is not much, most of the codex we see today belongs to the last two periods, and the last two periods are theoretically "stele lines". Judging from Kang Youwei's second and third codexes, while flowing beauty and agility, it still sees thickness and vastness. This is the embodiment of the "combination of inscriptions and posters" consciously and unconsciously, intentionally and unintentionally. Of course, the codex of the same period will also show different style characteristics due to the tools (the soft and hard point of the brush, the raw and rough of the paper), the state, the state of mind and other factors.
Judging from the above stages, the third period belongs to Kang Youwei's inscription fusion period, and he deliberately combines the inscriptions, which have been described above and will not be repeated. Is it true that the large characters can be combined with the inscription in one furnace, but the codex cannot? The answer is obviously negative, and the idea of combining inscriptions and posts in the codex is also revealed in Kang Youwei's inscription, which he wrote in the 1918 "Title Zheng Shu Qing Handwritten Poem Manuscript" Yun:
The manuscript of the poems from the present temple is deep and ancient, and the beauty of the chonghe is the length of the northern monument, and it is taken from its high hun and gone to its wilderness... However, if the uncle asks what he has done, with the body of the Han Stele and the North Stele, and the super-easy atmosphere of the Yu Nan Ti, it is rare for people to be close to people, so-called: Luan Xiang Feng Fei Under the Immortals, Coral and Green Trees Intersect Branches.
It can be seen that he greatly appreciated the poetry manuscript that integrated the Han Tablet, the Northern Tablet, and the Southern Tablet, which is actually what Kang Youwei pursued in the Codex. For example, "Zhi Yifu Shuzha" and "Zhi wu Xianzi Shuzha" are typical "stele line" codexes. (The manuscript of the "Wanmu Caotang Tibetan Painting Catalogue", although it is not a codex, is actually the same as the codex, and more than 10,000 characters also show a typical meaning of "stele line".) In 1927, Kang Youwei wrote "Xie En Fold" before his death, which is his representative codex work, with more than a thousand words in one breath, with a pen astringent, horizontal painting trembling, and golden stone.
From the perspective of penmanship, the intervention of the Northern Tablet Penmanship has become an important feature that cannot be ignored by Kang Youwei's Codex. His horizontal paintings mostly take the curved posture in the north stele, the round pen is in the center, the reverse is in and out of the flat, not a straight down, and the strokes have the will of the seal. His writings "must be laid on paper, ten thousand millimeters of concerted efforts, and then can be", such as "one", "commission", "ping", "hope" and other long and horizontal fluctuations and "Shimen Ming", "Zheng Wen Gong Monument" and other meanings, just as Bao Shichen said, "His lines and paintings have no one who does not bend". Horizontal folding and horizontal folding hook more than a stroke arc circle, do not write the last horizontal, such as "because", "country", "zhu", etc., and the turn is strong and round, a stroke to the end, also do not write hooks, single arc, and the next pen is not connected, such as "easy" and "south" and so on. The vertical hooks are mostly pushed out flat at the hook, and some are pushed out very long, such as "door" and "Shan", etc., and there are vertical hooks as skimmers, such as the "zi" word hook showing affiliation. The outer and inner circles that appear in the turn are obviously from Zhang Yuzhao, such as "all" and "over", etc., and there are also several setbacks in the middle of the arc, such as "and" and "garden", which are obviously not written in the Thesis school, but emphasize the golden stone qi. Skimming is longer, some of the paintings are the long line of the center, there is no mention of the action, such as "more", etc., some of the paintings suddenly change direction, the angle is larger, such as "table" and "funeral", etc., some of the paintings are twisted and turned, jumping and undulating, such as "Dao", etc., some of the paintings show an upward trend, Kang Youwei once said to Liu Haisu: "Where the stroke strokes take the upward trend, take more of the method "Stone Gate"", from the handwriting point of view, it is true, and the strokes and strokes of the strokes change the edge in the middle of the way, and the twisting edge is out, and the words "volt" and "avoidance" can be seen. Some of the paintings are pressed out forcefully, thick and unrestrained, such as "裦" and "Zhao". Of course, sometimes it is a disease to lose roughness. Kang Youwei's so-called "skimming" pen is actually an apostrophe in cursive writing, which is often called "skimming" in the lishu, which seems to be the opposite of the writing method of skimming from the weight of the pen, starting with a lighter pen, getting heavier and heavier, and finally returning to the pen, just like the lishu, such as "heaven" and "shu". In general, the pen used is as he believes that "the six dynasties penmanship, so those who have passed the hereafter, the density of the knot, the thickness of the pen, the most significant." And its strokes are long and long, although they are extremely small characters, in strict order, they are all in the direction of the strokes. These penmanship features are evident from its codex. Kang Youwei's pursuit is to "thicken its strength, strengthen its pen, and escape its rhyme", and he also believes that "writing a book is a clumsy and smooth, but also a natural level." It can be seen that his fluency is based on clumsiness. His pen contains tension, heavy pressing, full of strength, seeing the square when the circle is turned, and has a strong seal will, which is no longer the technical expression of the theory system in the general sense.
In addition, it is worth noting that Kang Youwei's codex also appeared a large number of stroke trembling phenomenon, especially the horizontal strokes are more, even such as jagged, I don't know whether it is due to the unintentional hand shaking in his later years, or intentionally, according to the author's preliminary investigation, it should belong to the intentional use of trembling to express jinshiqi, and then Li Ruiqing's practice of showing jinshiqi with trembling has reached the extreme, is it inspired from here?
Judging from the knots, the knots of many characters come from the North Stele, of course, the source of his North Stele is not limited to the "Shimen Ming" and the "Zheng Wen Gong Stele", "Sixty Artificial Statues", "Jing Shi Yu" and other inscriptions, the source should be multi-channel. He showed more of the characteristics of a flat painting with wide knots, the middle palace was tight and open on all sides. For example, the "憲" and "Zhong" at the bottom of the "heart" character reveal the characteristics of the knot character of the Wei stele. Of course, from the above table, it is not to explain a certain word out of a certain stele, but to try to illustrate the characteristics of certain stele brushwork and structural features that exist in his codex, which may be influenced and inspired by certain types of inscriptions. Kang Youwei copied the inscriptions and did not imitate them step by step, but was good at obtaining their spirit. Judging from the breath, kang's codex saw a feeling of vastness and murkiness, and some of the codexes were full of golden stone qi, and that kind of breath could not be covered by the style of the Thesis codex, and the more he reached his old age, the more his inscriptions blended without traces. Dong Qichangyun: "Calligraphy is only in the two words of cleverness, clumsy is straightforward and has no transformation." Kang Youwei, on the contrary, believes: "Although the children of poor villages have made statues, but the bones and blood are strong, and there are differences in clumsiness." It can be seen that the aesthetics have undergone major changes, so what kang Youwei presents in his pen is a kind of monumental style.
From the analysis of the characteristics of Kang Youwei's codex in the brushwork, structure, and flutter stroke example table, it can be seen that the unity of the small character line book and the large character line book in the basic characteristics. However, from the intuitive feeling, some of the stele flavor of the Kang Youwei Codex is obvious, and some of the stele flavor is not obvious, which involves the typical problem of the "stele line" in the codex, when specifically involving a certain word, it can be divided into typical and atypical, which is a matter of the degree of integration of the stele school, of course, some words cannot be specifically defined as stele or post, and there is no need, because the stele has been blended, and too many single words cannot be found, and this is the new look formed after the fusion. In particular, for Kang Youwei, who has dissolved the stele into his blood, his aesthetics, his penmanship, his knots, and even the breath in his codex are inseparable from the stele, or even inseparable. Kang Youwei Codex as a "stele line", and the contemporary style of calligraphers to distance themselves, he is different from Zhao Zhiqian, Zhang Yuzhao, Shen Zengzhi and other interpretations of epigraphy, he found a new attempt to combine the stele with the creation mode, especially he finally integrated the north stele and the south stele into one of the creative techniques freely applied in the codex, which is of great significance in the history of calligraphy, especially for the development history of the book and the history of style. In addition, Kang Youwei's theory and practice are mutually superficial and mutually corroborating, and "Guangyi Zhou Shuangyi" represents his view of calligraphy around the age of thirty, after which his view of calligraphy gradually changed, and his main views were scattered in various letters and inscriptions in the middle and late years, and comprehensive research found the consistency of his theory and practice. It can be considered that in the Qing Dynasty, the theory of epigraphy and the practice of epigraphy were so influentially interpreted, I am afraid that only Kang Youwei was the only one.
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