Before and after Jiaqing and Daoguang, Ruan Yuan and Bao Shichen advocated the study of steleology, theoretically advocating the status of the Qin and Han Northern Stele tradition in the history of calligraphy and the system of calligraphy aesthetics, making it a temporary manifestation. However, many writers who have gone deep into practice have not completely chosen this, but have taken their own strengths and consciously or unconsciously sought ways to integrate, so that the two traditions have gained new opportunities for development. (The accompanying picture has nothing to do with the main text)
Therefore, the late Qing Dynasty scholars can be roughly divided into three categories.
<h1 class = "pgc-h-arrow-right" > (1) Writers based on the Jin and Tang dynasties: Lin Zexu, Weng Tonggong, etc </h1>
Lin Zexu (1785 ~ 1850), the character Shaomu, a word without caress, the old man of The Village of Zhen, a native of Fuzhou, Fujian. Officials to Liangguang, Yungui Viceroy, Crown Prince Shaobao, Yu Wenzhong. After the Opium War, he was killed by Ili. The calligraphy is from Ou, Yan, Erwang and Mi fu, which is quite fresh and steady, but it is slightly bound by the habits of the pavilion.
Weng Tonggong (1830 - 1904), Zi Shuping, Song Zen, Bottle Lu Resident, etc., Changshu, Jiangsu. He was dismissed from his post as Minister of Military Aircraft and Minister of State Affairs, and was dismissed from his post in the Wushu Reform Law. His calligraphy originated from Weng Fanggang and Qian Nanyuan, and traced back to Yan Zhenqing and Mi Fu, with a pure atmosphere and a wide range of tangyu, which was an important town for the late Qing Dynasty Thesis school of calligraphers.
In addition, the number of late Qing scholars who were good at traditional grass walking was still extremely large, and there were also many masters with not far-reaching reputations and very good standards, such as Dai Xi, Guo Songtao, Zeng Guofan, Wang Zheng, and even Li Hongzhang and Zhang Zhidong, who all had considerable traditional calligraphy achievements.
<h1 class="pgc-h-arrow-right" > (ii) calligraphers who mainly used the pre-Qin, Qin, and Han northern steles. </h1>
There are many such writers, including Zhang Tingji, Zhu Weibi, Xu Tongbai, Zhao Zhichen, Liuzhou Dashou, Wu Xizai, Yang Da, Zhang Yuzhao, Wu Dacheng and so on. Most of them are scholar-type calligraphers who combine traditional scriptures, golden stones, calligraphy and painting, dictionaries, evidence, and collection research.
Zhang Tingji, Zhu Weibi and Xu Tongbai were all good at the Golden Seal, and the three of them could be regarded as the more influential pioneers in the study of the pre-Qin seal book in the Qing Dynasty, although their achievements could not be regarded as very profound, especially how to use pen and ink to express the atmosphere of the great seal, it should be said that the desired effect had not yet been achieved.
Zhao Zhichen (1781~1852), also known as Zi Xian, Xianfu, Baoyueshan, etc., was a native of Qiantang (now Hangzhou), Zhejiang. Jing Liu Shu, good at painting landscapes and flowers, often wrote Buddha statues in his later years, could seal the seal of the line, carved seals, and was a disciple of Chen Yuzhong. There are "Supplementary Roga Room Collection" and "Supplementary Roga Room Seal Spectrum". He was once known as Ruan Yuan's zhong ding, so he was proficient in the Great Seal. His Great Seal Book, unlike the previous generations, depicts the beginning and the end, but can abandon the form, take the divine reason alone, and use thick and strict brushwork to express it, the pen and ink are more natural and vivid, and it is a family worthy of attention in the Great Seal Book of the Qing Dynasty.
Wu Xizai (1799 ~ 1870), originally known as Ting biao, the character Xi Zai, after the age of fifty because of avoidance of words to change the word, also as a concession, with the character line, the number of Let Weng, Xiang Weng, late study resident, Fang Zhu Zhangren, Yan An, Yan Fu, etc., ancestral home of Jiangning, since his father moved to Yizheng. Gong Jinshi research, can write freehand flowers, fine rule seal, ordinary life rule seal more than 10,000, the influence is deep and wide, the later master Of The Deng Sect, mostly take the Wu clan as the sect. He is the author of "Interpretation of Geography and Geography of Tongjian" and "Seal of Wu Rang". Calligraphy was learned from Bao Shichen, who obtained calligraphy and instructed him to learn the Deng Men Path. Seal carvings and seals can be chased by Deng Shiru to the Qin and Han Dynasties, inherit and carry forward, and become a family. Calligraphy is the best in seal writing, the penmanship is graceful and clean, fluent but elegant, there is a literati qingqi, and it is a teacher who can develop.
Zhang Yuzhao (1823~ 1894), the character Lianqing, lianting, etc., hubei wuchang people. He once entered the shogunate of Zeng Guofan and was a disciple of the Zeng clan, but he had no intention of advancing, and concentrated on learning, for the ancient Chinese people of the late Qing Dynasty, and his descendants edited his articles as "Lianting Anthology" and so on. His calligraphy master Beibei, especially thanks to the "Zhang Ronglong", and into the rules, self-formed posture, the structure is rigorous and square, the penmanship is strong and strong, especially the unique pen posture of the outer square and the inner circle is praised by people, and is recommended by Kang Youwei as "the completion of the collection of steles", which has a wide influence in modern China and Dongying. But now it seems that although it is very distinctive, compared with the North Monument, there is a spiritual barrier and there is no essence.
Wu Dacheng (1835 ~ 1902), formerly known as Dachun, changed to avoid the emperor's secrets, the character stop respect, also the word Qingqing, the number Hengxuan, The zhaizhai and so on, wu county in Jiangsu (now Suzhou) people. In the seventh year of Tongzhi (1868), he entered the army and was promoted to Guangdong and Hunan. Haoji Gujing identification, is a famous epigrapher, the ancient artifacts obtained are hand-made from the Motuo, Gong calligraphy and painting seal carving, author of "Shu Zhai Ji Gu Lu", "Shu Zhai Ji Gu Lu Interpretation Manuscript", "Shuo Wen Gu Zhen Supplement", "Heng Xuan Ji Jin Lu", "Ancient Character Saying", "Ancient Jade Tu Kao", "Shu Zhai Poetry Collection" and other works. His seal book integrates the two seals of large and small, with the large seal to stand its bones, with the small seal to capture its genre, and the pen and ink are extremely refined, the three beauty is one, forming a strong and tight artistic style, opening up a new style for the art of seal book.
<h1 class = "pgc-h-arrow-right" > (iii) and scholars who have combined the two traditions of the sect and seek integration: He Shaoji, Zhao Zhiqian, Yang Shoujing, Kang Youwei, etc </h1>
He Shaoji (1799~1873), zizhen, dongzhou resident, late trumpet scorpion, hedgehog weng, Hunan Province (now Dao County) people. Daoguang sixteen years (1836) jinshi, successively edited, the national history museum assistant repair, the general editor, the transfer, etc., once presided over the Fujian, Guizhou, Guangdong township examinations, Xianfengjian was deposed during the Sichuan study and politics, since then lectured and traveled all over the world, in his later years in Yangzhou presided over the proofreading of the "Thirteen Commentaries on the Thirteen Classics". He was a famous scholar of the late Qing Dynasty, proficient in rituals, spoken chinese, Chinese calligraphy, poetry and calligraphy, and authored the "Commentaries on the Commentaries on the Passages of Sayings" and "The Golden Stone Of the Caotang of Dongzhou". His calligraphy, starting from Yan Zhenqing in his early years, later integrated the Daoyin Master Monument, studied it for decades, and was deeply skilled, and later he worked the seal, the li and the north stele, all of which were deeply skilled, and they were crowned with the seal, the subordinate, the kai, and the line. With great talent and ingenuity, we explore the integration of the spirit of each body, so the faces of each body are very different from the faces of tradition, but they all rely on the faces of tradition, which can really be described as the god of the monument, the rhyme of grass, and the integration and acceptance, which has opened up a strange thing in the history of Chinese calligraphy and opened up a new avenue for the future development of calligraphy.
Zhao Zhiqian (1829~1884), courtesy name Shu Shu, No. Sorrowful Nunnery, Bei Zi Yao, Zhi Zi, Tie San, Yi Fu, Huan Liao, Leng Jun, Wu Min, Mei An, etc., were from Zhejiang Huiji (present-day Shaoxing). Xianfeng Ji Wei Nian (1859) was raised. Liguan Jiangxi Poyang, Fengxin, Nancheng Zhi County. His works include "The Remainder of the Poetry of the Sorrowful Nunnery", "The Monument of the Visit to Huanyu", and "The Record of the Six Dynasties". He is a versatile artist, with seal engraving, painting and calligraphy. It is said that "the talents of life and art are higher than manpower, but the seal is five people in the sky, and there is no difference", which shows that he is very hard and diligent in the seal. With its unique artistic sensitivity and casting ability, Zhao introduced the ancient artifacts unearthed at that time into the printing and side sections, with diverse styles, fresh meanings, and a new world of seals. His calligraphy, first introduced from Yan Zhenqing, later specialized in the North Stele, and then obtained deng Shiru's method of sealing, so he wrote the seal with the method of the northern stele, which further enriched the penmanship of the seal. It is also transformed into a book by the North Monument, which is integrated and cast, and the use of Ruyi and the divine qi fly, which not only has the meaning of simplicity and thickness, but also has the gentle and elegant rhyme of the post. Unfortunately, he died young, and failed to make the mood more mature and old.
Yang Shoujing (1839~1915), also known as Yiwu, was a native of Yidu, Hubei. At the request of The Minister in Japan, Lai Shu Chang, he went to Japan to assist in the compilation of the "Guyi Series", so he collected a lot of ancient documents preserved in Japan. He also widely disseminated calligraphy in Japan, which had an important impact on the development of calligraphy in modern Japan. He theoretically advocated that monuments and posts "combine to be two beautiful, and separation is two injuries", and he is an early figure who advocated this theory. In practice, he also adhered to the practice of not contradicting, learning Yan and Su Shi in the book, and later participating in the Meaning of the Northern Monument; the Great Seal has reached the Western Zhou; the Lishu pays attention to the pen and ink interest, the old spicy and slow, the knot body is wonderful and good, and sometimes there is humor.
Kang Youwei (1858~ 1927), originally known as Zu Yao, the character Guangsha, the number changsu, Gengsheng, Xiqiao Shanren, etc., Guangdong Nanhai people, the author of "Mr. Kang Nanhai's Testament", "Wanmu Caotang Testament", "Wanmu Caotang Testament External Compilation", "Guangyi Zhou Shuangyi" and so on. Kang Youwei is a strong general in the theory of epigraphy, and he has extreme views when he holds the theory, which is often criticized by people, but he has received strict traditional calligraphy training since he was a child, although he has specialized in the North Stele in the future, but the foundation of early childhood learning has not been abolished, and the result is inadvertently formed the face of the integration of stele and post. Many predecessors believe that his calligraphy comes from the "Shimen Ming", and in fact, there are many interesting things about Yan Zhenqing's writing. Therefore, his works not only have the opening of the North Monument, the quaint and majestic calligraphy of the Seal, but also the smooth flying of the traditional grass, which is a relatively successful example of the integration of the North Monument and the traditional grass.
Wu Changshuo (1844 ~ 1927), initially known as Jianyu, Jun, also known as Junqing, the character Xiang supplement, after middle age, more character Changshuo, with the character line, also signed Cangshi, Cangshuo, Cangshuo, The number of Theo Lu, Lao Miao, The Tao people, Lao Cang, bitter iron, the great deaf, Shi Zun, Xiang Ajie, broken lotus pavilion chief, five lakes printing, cutting Lu, turnip pavilion chief, etc., Zhejiang Anji people. In his later years, he was elected as the first president of xiling printing society, and was an outstanding artist in the late Qing dynasty, and his poetry, calligraphy, painting and printing were all self-contained and influential. He is the author of "The Collection of Silk Lulu". He is not only the palace army of Qing Dynasty calligraphy, but also the pioneer of modern calligraphy, he has the most work in the seal and the subordinate, especially the "Stone Drum Text", immersed in life, without a day or a departure, in his later years to change the pen and ink, the introduction of the meaning of the grass, so that the pen and ink interest, overflowing between the lines, the revival of the seal book, to him and reached a new height; the book of the book with Wang Duo as the sect, into the European, rice, but also the introduction of the stele of the vigorous and simple, the old spicy and strange, so that the book also shines again. In the early days of Zhiyin, Zhejiang and Anhui, they went in and out of the Qin and Han Dynasties, borrowed from the clay pottery, and integrated into the taste of freehand painting, forming a new face of mottled and ancient, heavy and majestic, that is, as a small seal, there is also a tendency to seek the zhang. Zhiyin also created a method of trimming the printing surface and the sidebar. Both carved and crafted, returned to simplicity, ancient and modern are the same. Wu Changshuo's achievements are the fruit of the in-depth integration of the two major traditions since the middle of the Qing Dynasty, marking the complete success of the Qing people's work of re-rationalizing the classics, and laying a very solid foundation for the development of modern calligraphy.
After a long and brilliant development, as Chinese society fell into the modern era of frequent wars, calligraphy was once strongly impacted and tested by wind and rain. Now, she has ushered in another opportunity for revival, not only in the country that has lasted for many years, but also for the world.