Historian Mr. Chen Yinke has a point of view: "The development of art is mostly influenced by religion." (See Kim Myung-kwan Series?) The Relationship between Tianshi Dao and the Coastal Region") The calligraphy written in the Dunhuang Testament is a typical example.
Dunhuang
The volumes in the Dunhuang Testament span 700 years from the earliest western Jin Dynasty Yongxing ii year (305) to the latest Song Zhenzong Jingde iii year (1006). In Chinese calligraphy, it is from the two Jin, the Southern and Northern Dynasties, the Sui and Tang Dynasties to the Northern Song Dynasty, the heyday of calligraphy development, in more than 700 years, calligraphy and calligraphy masters have emerged, Wang Xizhi, Wang Xianzhi father and son, Tang Dynasty Ouyang Qing, Chu Suiliang, Yan Zhenqing, Song Dynasty Su, Huang, Mi, Cai, etc., calligraphy aesthetic orientation has also undergone the "Jin Shangyun", "Tang Shangfa", "Song Shangyi" era change.
Spirit Flying Sutra
Scripture writing, if classified as calligraphy, cannot exist independently, and the so-called orthodox mainstream calligraphy will certainly learn from each other and influence each other, and the influence on Chinese calligraphy in the contemporary book world is obvious. In the past few decades of great development of Chinese calligraphy, contemporary calligraphers have studied and learned from Dunhuang's scriptures, and integrated the aesthetic consciousness of the times to create a new realm of Chinese calligraphy. The calligrapher Shen Zengzhi's calligraphy path is a representative of the combination of stele and paste, in addition to which he also borrowed dunhuang to write the scriptures, and his student Zhang Cursive Calligraphy Everyone Wang Suo often said:
"Mr. Tang wrote the scriptures, the quicksand fell extremely hard, and the change of law in his later years was also effective in this."
During the 700 years, although the writers of the scriptures were in the remote northwest of Dunhuang, they did not lose contact with the scribes and calligraphers in the interior. For the great Chinese calligraphy, the writing calligraphy and the mainstream calligraphy develop in parallel, forming a situation of mutual integration, mutual influence and complementarity, after all, the writing of the scriptures is a kind of practical writing, and the level of the scripture writers is also uneven, forming a self-contained scriptural style, with vivid, natural and interesting characteristics, which together reflect the aesthetic orientation of ancient calligraphy art.
The development of Chinese calligraphy is a long period, and the process of contamination and contamination has been repeated in the long history. As an orthodox and mainstream calligrapher, it is entirely possible that we will also absorb the nutrition of scripture writing calligraphy, and we can see the shadow of scripture writing calligraphy from Su Dongpo's surviving calligraphy.
Su Shixing's book "Raspberry Thesis"
The most outstanding representative of the "Shangyi" calligraphy of the Song Dynasty in Su Dongpo, its calligraphic knot characteristics are "fat, flat, sideways, and reclining". Its calligraphic glyphs are more sideways and tilted to the right, the glyphs are flat and plump, the pen is slightly lower, and the left show is dry and the right is dry. The brushwork is naturally informal, with more calligraphic meaning, and the use of ink must be thick, which constitutes a "Su body" that is different from the calligraphy of predecessors. Huang Tingjian, the "Four Scholars of Sumen", called Su body calligraphy "stone pressing toads", which became a good story in the book world. The glyph lies in lying on the side of the pen.
Su Dongpo's writing habit is to arrive at the case with his hand, not moving when the wrist is pasted on the table, mainly with the finger, the pen is sharp on the side, and the sharp edge into the paper is at a certain angle with the paper.
Su Shi's "Poetry of the Dead Uncle Su Zhuo"
Gansu Museum "Reading the Purple Recorder for Three Years"
Su Dongpo's calligraphy is typical of "begging for a hundred rice, cooking a family of rice", and he has taken the method in each of the Jin and Tang dynasties. For example, Su Shi was 29 years old, and the "Poetry Of the Deceased Uncle Su Zhuo" (Song Tuoben) written by Feng Xiangshi was very typical of the Jin people's Xiaokai flavor; the 34-year-old Xingshu Zhiping Tie made when he was in Beijing, not only had fine penmanship and charming font, but also clearly had the characteristics of fat flat and flat, which showed that li Yong and Xu Hao's calligraphy nutrition, and then there was a broad bo of the formula of shan Yan Lu. If the Zhiping Ti is the beginning of the iconic elements and styles of his calligraphy, then the Kaishu "Preface to the Tengwang Pavilion", "Diamond Sutra" and "Health Theory" have continuously consolidated and strengthened this style, deepening people's understanding and impression of his unique style.
Portrait of Su Dongpo
Part of Su Shi's "Zhiping Thesis" volume
Again, I compare Su Shi's works from different periods with the calligraphy of scripture writing.
Comparison of Su Shi's early Xiaokai poems, "The Poetry of the Deceased Uncle Su Zhuo", and the "Three Years of Reading the Purple Recorder" ("Fazang Dunhuang Western Region Literature"). The Three Years of Reading the Purple Recorder is a Taoist classic copied by Jingsheng in the Tang Dynasty, written by Xu Ziyuan in the twenty-third year (735) of the Dahong Taoist Temple in Henan Province. His calligraphy is skillful and fluent, and he is upright and methodical. The appearance and breath of the two posts are strikingly similar, but the difference between the two posts is 330 years! This cannot but make us guess that Su Shi's Xiaokai is almost entrusted with this.
Su Shixing's book "Sacrifice of Huang Daowen"
Part of the "Sacrifice of Huang Several Scrolls"
Part of the "Xianyu Jing Scrolls I and II" of the Western Wei Dynasty in the Huang Testament
Comparison of Su Shi's Xiaokai's "Sacrifice of Huang Ji Dao Wen" with the "Xianyu Jing Scrolls I and II" of the Western Wei Dynasty in the Dunhuang Testament (Gansu Museum Collection of "Gansu Tibetan Dunhuang Literature"). Discover the amazing Acacia style.
"Several Texts of Sacrifice to Huang" is a tribute text jointly written by Su Shi and his younger brother Su Rui to mourn Huang Haoqian in the same year, written on August 4, 1087, in the second year of Yuan You (1087), when Su Shi was 52 years old, the style of writing was elegant and elegant, true and natural, and it was one of the very few calligraphy treasures in Su Shi's works.
The first and second volumes of the Xianyu Sutra were created by Yuan Faying, wife of Dunhuang Taishou Deng Jiyan. Yuan Faying was the daughter of Yuan Rong, the King of Dongyang, who ruled Dunhuang for more than 20 years, copied Buddhist scriptures and built grottoes during his tenure.
This volume should have been written before the eighth year (542) of the Western Wei Dynasty, and it comes from an unknown master of jingsheng, with flattened glyphs, dense knots, and a calm weather. The horizontal painting is greatly oblique, echoing with the thick and dignified brush, which appears to be a magnificent and proud situation, and has a lot in common with Su Dongpo's calligraphy. And the difference between the two is nearly 550 years! It seems to have opened the "Su Shi body" 500 years later.
Although this conclusion is not a detailed historical evidence, the fact that the historical data is not recorded does not mean that it has not happened. With Su Dongpo's insight and talent, the insight of the "classic" should be reasonable.
Dunhuang wrote the sutra "More Leakage Length" in 30 volumes
"Xue Tingjue wrote the ancestral text of Han Xunsheng, the king of Yingchuan County"
The calligraphy style is mutual learning, borrowing and integration: the two pieces of scripture writing calligraphy have a clear style of beating, which shows the exemplary role of famous calligraphy and can be spread from the Central Plains to the remote northwest.
The artistic value of calligraphy was gradually recognized in the Song Dynasty, and during the reign of Emperor Huizong of the Song Dynasty, the imperial government began to collect volumes handwritten by Tang Jingsheng, and since then the influence has become increasingly great. The calligrapher and painter Ni Zhan of the Yuan Dynasty, with his unique style of calligraphy that is simple and sparse, dry and light, and has a dangerous penmanship, obviously has the shadow of scripture writing calligraphy. According to the data, Ni Zhan had carefully copied the calligraphy of the scriptures.
The learning process of any famous calligrapher in history, reading through the classic works of history, absorbing accumulation, reflection, repeated smelting, and finally forming a facial style, which is the superposition and integration of a variety of nutritional elements.