How many books are there in China?

During the pre-Qin and Fu periods in China, characters appeared. Archaeologists proved that Oracle Bone Inscriptions was painted on tortoise shells and animal bones. Because it is used for divination and predicting good or bad luck, it is called "Oracle". But it already has the basic elements of China's calligraphy art: pen, structure, composition and so on. During the Yin and Zhou Dynasties, the inscriptions carved on the Yi wares of Zhongding, that is, bronze inscriptions, also known as "Zhong Dingwen", were widely popular. After the unification of Qin Shihuang, they were collectively called "Xiao Zhuan", also known as "Qin Zhuan". The so-called seal script is actually an official script. It is a standardized common font for official documents. According to the literature. Before the Qin Dynasty, Chinese characters had no special names. Seal script evolved from Qin characters in the Spring and Autumn Period and the Warring States Period. Because this is the official book. Small seal is only suitable for grand occasions. Such as remembering merits and carving stones. Uncle's imperial edict. Soldiers and tigers. The style of seal script is arranged neatly. This pen is round and round. These lines are long and even. Presenting a solemn and beautiful style. Compared with Oracle Bone Inscriptions and Jinwen, it has some basic features: slender shape. And the taut tension extends downward. It constitutes the visual illusion that the upper part is dense and the lower part is sparse. This is also related to the top-down layout. Even lines, no matter how long stippling is. The strokes are even in thickness. This kind of strength. A pen with even speed. Give people a pure and simple aesthetic feeling. In addition, the font structure tends to be simple and fixed. The layout of seal script can better form the order of vertical and horizontal lines. Qin Zhuan is different from a square pen. He uses a round pen. The round pen is represented by Qin carved stone. Fang Bi is represented by the amount of copyright in imperial edicts of the Qin Dynasty. This is a vulgar style in Qin Zhuan. The Han and Wei Dynasties were a spent force for Qin Zhuan. Except for inscriptions, seals and objects. There are few independent seal scripts. Tang seal. Recovered from lee. Ren's majestic spirit has gone. Epigraphy in the song dynasty and the restoration of calligraphy in the yuan dynasty. The right to use seal script increased slightly. There are many people who are famous for their seal scripts, but they lack the power to surpass them. The wind of inheriting yuan dynasty in ming dynasty. Step evenly. In Qing dynasty, seal script was full of flowers. In promoting the Tang dynasty to surpass the Qin dynasty and enter the stage of great prosperity.

First, seal script

There is a big seal in front of a little seal. As early as more than 60 years ago, symbols carved on pottery and pictures depicting objects had the embryonic form of words, and then in the long development, pictographic (picture) words were produced. Three thousand years ago, in the Shang Dynasty, the characters carved on tortoise shell bones, that is, "Oracle Bone Inscriptions", were fine and straight, and the strokes were insignificant. In the Shang and Zhou Dynasties, inscriptions cast on bronze wares such as bells, ding, money and weapons were called "inscriptions on bronze" or "Zhong Dingwen". Calligraphy is becoming more and more neat, the style is round and vigorous, and the fonts are varied and uneven. During the Spring and Autumn Period and the Warring States Period, the characters carved on stone drums were called Shi Guwen. The strokes are vigorous and dignified, slightly square in structure and beautiful in style. The above Oracle bones, inscriptions on bronze inscriptions and Shi Guwen were called "Da Zhuan" in Qin Dynasty.

B, Xiao zhuan

In 22 1 year BC, Qin Shihuang unified China. Li Si, the prime minister, simplified the unified font, which was later called "Xiao Zhuan". Xiao Zhuan's handwriting is slightly long and neat, and the strokes are round and beautiful.

(2) Representative figures

Li Si, the originator of Xiao Zhuan, was born in Shangcai (now Shangcai County, Henan Province) during the Warring States Period. Later, he did the Qin Dynasty, and compiled and formulated the regular script and seal script of the Qin Dynasty. The stone tablet "Yishan" existing in Xi 'an stele forest was carved in the Song Dynasty. Most of the stone carvings in the book have been destroyed. There are only two original stones left in the world.

Respondent: Bing Jing 809- Assistant Level 2 4-22 18:3 1.

Brief introduction of various calligraphy styles

1: Oracle Bone Inscriptions

Ancient Chinese characters are the names of characters and the oldest existing characters in China. Carved on the Oracle Bone Inscriptions, it was first used in Oracle Bone Inscriptions (Yin people used tortoise shells and animal bones for divination. After divination, the period of divination, the name of the diviner and the things of divination are all engraved with a knife next to divination, and some even engraved with good or bad luck that has been fulfilled a few days later. Scholars call this kind of record Oracle Bone Inscriptions, which is a divination of the future outcome, and it was more popular in the Yin and Shang Dynasties. Oracle Bone Inscriptions was discovered in 1889, which is a record of royal divination in the late Shang Dynasty. It was discovered more than 3000 years ago in Xiaotun Village, Anyang, Henan Province. Oracle Bone Inscriptions is the first treasure in the history of China's calligraphy. His brushwork has changed in thickness, lightness and quickness. His brushwork is light and urgent, thick and heavy, quick and energetic, and has a certain sense of rhythm. Fiona Fang is full of turning points, steep in square and soft in round. Its lines are more harmonious and fluent than those of Wen Tao, which lays the foundation and rhythm for the unique line art of China's calligraphy. Oracle Bone Inscriptions was tied into a rectangle, which laid the foundation of Chinese font. Oracle Bone Inscriptions's knot is shaped with the body, so let it be. Its composition varies in size, and Fiona Fang is diverse, long and flat, scattered and harmonious. The writing principles of Chinese characters have been generally established in Oracle Bone Inscriptions, such as rugged, evasive, bow-echoing, unstoppable and so on.

2. Jinwen

A literal name in ancient Chinese characters. Shang, Western Zhou, Spring and Autumn and Warring States. It flourished in the Zhou Dynasty. This is another monument in the history of calligraphy in China. The tripod attached to the bronze ware is intended to "make people know God's treachery", so it is a ritual vessel for religious sacrifice. Bronze inscriptions are also called Zhong Dingwen, Wen Qi and ancient prose. Compared with Oracle Bone Inscriptions, the inscriptions cast together with bronzes have stronger lines and are more pictographic. The earliest inscriptions are found on bronzes unearthed in the middle of Shang Dynasty. Although there are not many materials, they are all earlier than Oracle Bone Inscriptions in Yin Ruins. The Zhou Dynasty was the golden age of bronze inscriptions, with the most unearthed inscriptions.

The main works of this period are: Li Chan, Tian Wuchan, Yu Ding, Pan Bi, Pan and Muyin Baizipan. Among them, Simu Wuding, Pan and Mao are the most famous and have the highest artistic achievements.

3. Stone carving

Stone carvings originated in the Zhou Dynasty and flourished in the Qin Dynasty. Stone inscriptions in the Eastern Zhou and Qin Dynasties. On the 10 granite drum stone, there is a four-character poem, which praises Qin's hunting, so it is also called hunting. Legend has it that the earliest stone carving is Shen Bei in Xia Dynasty, and the style of carving poems is similar to the Book of Songs. The font is close to the calligraphy contained in Shuo Wen Jie Zi, and its calligraphy has always been highly respected. The main works are: Shi Guwen, Yishan stone carving, Taishan stone carving, Langya stone carving and Huiji stone carving.

4. Bamboo ink

Calligraphy is the most important art, but the original calligraphy before Qin and Han dynasties can only be seen in Jian and Bo Meng's books. In ancient times, bamboo was used as the main material, and bamboo slips were woven with beef tendon, silk thread and hemp rope. The earliest archaeological discoveries of bamboo slips and silk ink include Qin slips unearthed in Yunmeng, Hubei Province, the book of the Warring States League unearthed in Houma, Shanxi Province (the book of the League was written on a stone policy or a jade policy), and the silk book of the Warring States Period unearthed in Mawangdui, Changsha. China's calligraphy experienced Oracle Bone Inscriptions, bronze inscriptions and the Spring and Autumn Period and the Warring States Period. Due to the warlord regime, the figures since Shang Dynasty embarked on different development paths in the vassal states. During this period, the forms and techniques of calligraphy also presented a situation in which a hundred schools of thought contended. For example, the "Tadpole Prose" in the Northern Jin Dynasty and the "Bird Book" in wuyue, Chu, Cai and other countries are even more tortuous. Bronze inscriptions in the Spring and Autumn Period and the Warring States Period are no longer as thick as those in the Western Zhou Dynasty, but are replaced by slender figures, showing a mellow aesthetic feeling, such as "the mirror of Wu Wang Fu Cha". This period left many ink marks, such as bamboo slips, silk books and league books.

Calligraphy in Qin dynasty was the first of its kind.

During the Spring and Autumn Period and the Warring States Period, there were great differences in languages among countries, which was a major obstacle to economic and cultural development. After Qin Shihuang unified the whole country, Minister Li Si presided over the unification of the national characters, which was a great achievement in the cultural history of China. After the unification of Qin Dynasty, this script was called Qin Zhuan, also known as Xiao Zhuan, which was simplified on the basis of Jin Wen and Shi Guwen. Li Si, a famous calligrapher, presided over the compilation of Xiao Zhuan. Li Si wrote the stone carvings of Mount Li, Mount Tai, Langya and Huiji. All previous dynasties have a very high evaluation. Qin is a period of change of inheritance and innovation. The preface to Shuo Wen Jie Zi says: "Shu Qin has eight styles, namely, big seal, small seal, seal cutting, insect book, copy, official book and official book." It basically summarizes the face of the font at this time. Li's seal script was harsh and inconvenient to write, so official script appeared. Official script is a victory of seal script. Its purpose is to facilitate writing. During the Western Han Dynasty, official script changed from seal script to official script, and its structure changed from vertical to horizontal, with more obvious lines and waves. The appearance of official script is a great progress of China characters and a revolution in the history of calligraphy, which not only makes Chinese characters tend to be square, but also breaks through a single center in brushwork, laying the foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are also handwriting such as imperial edict, weight, tile and coin. In the Qin dynasty, the style was very different. Calligraphy in Qin Dynasty left a brilliant page in the history of calligraphy in China, which is a pioneering work.

Seeking Degree and Rhyme —— From the Eastern Han Dynasty to the Southern and Northern Dynasties

Calligraphy in Han dynasty

Calligraphy in Han Dynasty can be divided into two forms: one is the mainstream system of stone carvings in China; One is tile seal, and the other is bamboo and silk alliance calligraphy and ink. The Monument to Yun Qi in the Later Han Dynasty is a symbol of Han Li's maturity. Among the cliff stone carvings (words carved on cliffs), Ode to Shimen is the most famous, and calligraphers regard it as a "masterpiece". At the same time, Cai Shark's "Jia Jing" reached the requirements of restoring ancient ways to Li and opening a tire. Inscription is the most important art form reflecting the times and phonology, among which Feng Longshan, The Story of the Western Chamber, Kong Zhou, Yi Ying, Chen Shi, Zhang Qian and Cao Quan are especially admired and imitated by later generations. It can be said that each monument is unique and has no similarities. The northern book is magnificent, while the southern book is simple, which embodies the different aesthetic pursuits of the "scholar" and "vulgar" classes. As for the tile seal and the simple silk script, it embodies the combination of artistry and practicality.

The prosperity of calligraphy art began in the Eastern Han Dynasty. Calligraphy theory's works appeared in the Eastern Han Dynasty, and Yang Xiong was the earliest author in calligraphy theory at the turn of the Han Dynasty. The first calligraphy theory monograph was a cursive script written by Cui Yuan in the Eastern Han Dynasty.

Calligraphers in the Han Dynasty can be divided into two categories: one is calligraphers in the Han Dynasty, represented by Cai Yong. First, cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi, were later called "Cao Sheng".

Bamboo slips calligraphy can best represent the characteristics of calligraphy in Han Dynasty. There are many inscriptions in the Eastern Han Dynasty. The inscriptions in this period were carved by Han Li, with square fonts, strict statutes and clear waves. At this time, the official script has reached its peak.

The creation and birth of cursive script in Han dynasty is of great significance in the history of calligraphy art, which indicates that calligraphy has begun to become an art that can express emotions and express calligraphers' personality with high freedom. The primary stage of cursive script is cursive script. In the Eastern Han Dynasty, cursive script developed further and formed Cao Zhang. Later, Zhang Zhi founded modern calligraphy, namely cursive script.

Calligraphy art in Wei, Jin, Southern and Northern Dynasties

1: Three Kingdoms Period

During the Three Kingdoms period, official script began to decline from the peak position of Han Dynasty, and evolved into regular script, which became another theme of calligraphy art. Regular script, also known as official script and original work, was created by Zhong You. Regular script entered the history of stone carving in the Three Kingdoms period. The Three Kingdoms (Wei) Period's "Recommended Season Straight Table". "Declaration Form" and so on have become the treasures of several generations.

2. Jin Dynasty

In the Jin Dynasty, elegance and quality were advocated in life, and the beauty of moderation and simplicity was pursued in art. Calligraphers came forth in large numbers, and bamboo slips were the two kings (Wang Xizhi. Wang Xianzhi) Yan Fang's exquisite artistic taste caters to the requirements of literati, and people increasingly realize that writing has aesthetic value. Wang Xizhi, the most representative of the spirit of Wei and Jin Dynasties, is the most influential calligrapher in the history of calligraphy and is known as the "sage of calligraphy". Wang Xizhi's running script "Preface to Lanting" is known as "the best running script in the world", and critics say that his writing style is like a cloud and agile as a dragon. His son's "Ode to Luo Shen" is magnificent, creating a "broken style" and "a book", which is a great contribution in the history of calligraphy. Driven by Lu Ji, Wei and Jin Dynasties, Suo Jing, Wang Dao, Xie An, Liang Jian and other calligraphy families, Nanzong calligraphy flourished. Yang Xin, Qi, Xiao Ziyun and Chen of Liang in the Southern Song Dynasty were all his followers.

At the peak of calligraphy in Jin Dynasty, it was mainly manifested in running script, which was a font between cursive script and regular script. His representative works "Three Wishes", namely "Yuan Bo Tie", "Sunny Tie in Fast Snow" and "Mid-Autumn Festival Tie".

3. Southern and Northern Dynasties

During the Southern and Northern Dynasties, China's calligraphy art entered the era of "Bei Bei Nan Tie".

The Northern Wei Dynasty and the Eastern Wei Dynasty are the best calligraphers in the Northern Dynasties, and their styles are also colorful. Representative works include Zhang Menglong Monument and Shi Jing Jun Monument. The representative works in the inscription are: thousands of words are really grass. The Northern Dynasties praised their ancestors and revealed their family business, and carved many stones, such as the north monument and the south post, the north opening to the south, the north people and the south soil, and the north glory and the south show.

For example, the masterpiece of the North-South School is the crane inscription in Nanliang. The "Zheng Wengong Monument" in the Northern Wei Dynasty can be described as a binary star between the North and the South. Most northern writers are Shu Ren, and this book is anonymous. Therefore, calligraphy is called "the sage in the book", and the northern writer is Wang Youjun.

Seeking rules-Sui, Tang and Five Dynasties

calligraphy from the sui dynasty

The Sui Dynasty ended the chaos in the Southern and Northern Dynasties and unified China. Later, Tang Dou was a relatively stable period. The development of the South Railway North Monument went hand in hand with the Sui Dynasty, and the form of regular script was officially completed, occupying a position of connecting the past with the future in the history of books. Sui Kai inherited the evolution of Jin, Southern and Northern Dynasties. A new standardization bureau was established in the Tang Dynasty. There are inscriptions in the Sui Dynasty, mostly authentic, which are divided into four styles:

1: the Qifa Temple Monument of Pinghe Ruding Daohu, etc.

2. Strict and strict prescriptions such as Dong's Epitaph.

3. Deep-seated strength, such as' Thaksin Zen Master Taming' and so on.

4. Xiulang is as exquisite as the "Longzang Temple Monument".

The heyday of calligraphy in Tang Dynasty

1: A Brief Introduction to Calligraphy in Tang Dynasty

The culture of the Tang Dynasty was profound and brilliant, reaching the peak of China's feudal culture, which can be described as "books flourished in the early Tang Dynasty". There were more ink marks in the Tang Dynasty than in the previous generation, and a large number of inscriptions left precious calligraphy works. The calligraphy of the whole Tang Dynasty is the inheritance and innovation of the previous generation. Regular script, running script and cursive script all entered a new situation in the Tang Dynasty, with outstanding characteristics of the times, and their influence on later generations far exceeded that of any previous era.

At the beginning of the Tang Dynasty, the national strength was strong, and calligraphy took off from the legacy of the Six Dynasties. Everyone took Ou Yangxun as a regular script. Yu Shinan Chu Suiliang, Xue Ji and Ouyang Tong are the mainstream of calligraphy. The general feature is that the structure is rigorous and tidy, so there is a saying that "the Tang Dynasty is heavy", which was once honored as "the crown of calligraphy" and extended to the Tang Dynasty. Combining Confucianism and Taoism, Li Yong changed the right army to be unique. Zhang Xu and Huai Su pushed the cursive performance to the extreme with their drunkenness, while Sun Caoshu was good at being elegant, so he tried to create reality. Yan Zhenqing, on the other hand, absorbed the ancient law from the new ideas and bred new methods from the old ones. Dong Qichang said that Duke Lu made great preparations for learning from books in the Tang Dynasty. Late Tang Dynasty and Five Dynasties, the national situation declined, Shen Chuanshi. Liu Gongquan changed the model law again. Expose your thinness and strength. It further enriched the method, and in the Five Dynasties, it used Yan and Liu at the same time. When the two kings acceded to the throne, the flanks took a stance and made great efforts. So when they left the troubled times, it was Rao Chengping's only image and the light of Tang books. On the occasion of the Five Dynasties, crazy Zen became popular, which also affected the calligraphy circle. "Crazy Zen Calligraphy" did not show a large scale in the Five Dynasties, but it had a great influence on calligraphy in the Song Dynasty.

The art of calligraphy in Tang Dynasty can be divided into three periods: early Tang, middle Tang and late Tang. In the early Tang Dynasty, inheritance was the mainstay, statutes were respected, and the beauty of gold calligraphy was deliberately pursued. In the middle Tang Dynasty, innovation continued and it was extremely prosperous. Calligraphy also improved in the late Tang Dynasty.

There were six kinds of institutions of higher learning in the Tang Dynasty, namely imperial academy, Imperial College, Four Schools, Law, Calligraphy and Mathematics. Among them, it is a pioneering work in the Tang Dynasty to train calligraphers and calligraphers. Famous artists come forth in large numbers, Starlight Glimmer. Such as Ou Yangxun, Yu Shinan and Chu Suiliang in the early Tang Dynasty; Yan Zhenqing and Liu Gongquan were both great calligraphers in the middle Tang Dynasty. In the late Tang Dynasty, there were Wang Wenbing's seal script, Li E's regular script and Yang Ningshi's "Two Kings Yan Liu" aftertaste.

Calligraphy in Sui, Tang and Five Dynasties can be divided into three stages.

(1) Sui to early Tang Dynasty

Sui unified China and accepted the culture and art of the Southern and Northern Dynasties. At the beginning of the Tang Dynasty, politics flourished, and calligraphy gradually emerged from the legacy of the Six Dynasties and took on a new attitude. In the early Tang Dynasty, regular script was the mainstream, and its overall feature was strict and orderly structure.

(2): Mid-Tang Dynasty.

Calligraphy in the prosperous Tang Dynasty, like the social form at that time, pursued a romantic way of getting carried away. For example, Zhang Dian Drunkenness (Zhang Xu, Huai Su) and Li Yong's running script. In the middle Tang Dynasty, regular script made a new breakthrough. Yan Zhenqing, as the representative, laid the standard of regular script, set an example and became orthodox. At this point, China's calligraphy style has been completely determined.

(3): the legacy of the Tang Dynasty in the late Tang Dynasty and the Five Dynasties.

1907, Zhu Quanzhong, the separatist, destroyed the Tang Dynasty and established the Houliang, from which the later Tang Dynasty, the later Jin Dynasty, the later Han Dynasty and the later Zhou Dynasty were called the Five Dynasties. Due to the weakness and disorder of the country, culture and art are also declining. Although the art of calligraphy continued after the end of the Tang Dynasty, due to the influence of war and fire, it formed a general trend of decline. During the Five Dynasties, Yang Ningshi's calligraphy was praised. In the five dynasties when calligraphy declined, his calligraphy was the mainstay. There are also outstanding calligraphers, such as Li Yu and Yan Xiu. At this point, the upright and rigorous style of calligraphy in the Tang Dynasty came to an end, and then the "four schools" in the Northern Song Dynasty followed suit and set off a new wave of the times.

Advocating Feelings —— From Song Dynasty to Ming Dynasty

Song's words

Calligraphy in Song Dynasty attached importance to artistic conception, which was the result of Zhu Da's advocacy of Neo-Confucianism. The connotation of artistic conception includes four points: one is philosophical, the other is bookish, the third is stylization, and the fourth is artistic expression. At the same time, it mediates the individuality and originality in calligraphy creation. These are all reflected in calligraphy. If the worship of dharma in Sui, Tang and Five Dynasties was the embodiment of seeking "writing", then in Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. That is to say, besides being natural and diligent, calligraphers should be knowledgeable, that is, bookish, so that northern Song Sijia can change the face of Tang Kai. Direct promotion and calligraphy heritage.

No matter Cai Xiang and Su Dongpo, who are innovative in learning, or Huang Tingjian and Mi Fei, who are looking up to the ancients, they all strive to show their calligraphy style and highlight an unconventional posture, so that the learning atmosphere is gloomy and sandy between pen and ink, giving people a new aesthetic mood, which was in the Southern Song Dynasty. Fan Chengda, Zhu, Wen Tianxiang and other calligraphers have been further extended, but the knowledge and pen and ink skills of the Southern Song Dynasty calligraphers can no longer be compared with those of the North. Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai.

Calligraphy art in yuan dynasty

At the beginning of Yuan Dynasty, there was little economic and cultural development, and the overall situation of calligraphy was advocating retro, patriarchal clan system in Jin and Tang Dynasties, and less innovation. Although the Yuan Dynasty was ruled by foreigners politically, it was assimilated by Chinese culture culturally, which was different from the pursuit of artistic conception in the Song Dynasty. The intention of Yuan Zaju is to pursue the beauty of openness, so Su Shi flaunts that "I can't write this book according to the intention" and Zhao Mengfu advocates that "it is not easy to use a pen through the ages". The former pursues the meaning of speed, and then emphasizes the meaning of intention. The core figure in Yuan Dynasty is Zhao Mengfu, whose regular script Zhao Ti and the European style of regular script in Tang Dynasty. Liu style, also known as four styles, became the main style of calligraphy in later generations. Because Zhao Mengfu's calligraphy thought is definitely not one step ahead of Wang's, his calligraphy has a unique understanding of the essence of Wang's calligraphy, which is manifested as "Wen Ya" and "elegant" style, which is also related to Thaksin's Buddhism. Aesthetics tends to be elegant and detached, which is related to getting a spiritual liberation. Xian Yushu and Deng Wenyuan were also famous in the Yuan Dynasty. Although their achievements are not as good as Zhao Mengfu's, they also have their own uniqueness in calligraphy style. They advocate the same method of calligraphy and painting and pay attention to the posture of writing.

Looking at the calligraphy in the Yuan Dynasty, the characteristic of the calligraphy in the Yuan Dynasty is "respecting the ancient and sticking to the post", and its great achievement is still in cursive script. As for turning profits, although there are several famous artists, they are not very good. This kind of calligraphy with lines and cursive script as the mainstream didn't change until the Qing Dynasty. There was a calligraphy style in Yuan Dynasty, which prevailed in the calligraphy research in Song Dynasty and Tang Zongjin Period. Although they have their own merits, they can't stand in the calligraphy world in the same way. Compared with literature, painting and other arts, it is far from successful.

Calligraphy art in Ming dynasty

The development of calligraphy in Ming Dynasty can be divided into three stages:

1: the first stage-early Ming dynasty

In the early Ming Dynasty, calligraphy was characterized by "one word with many images" and "Taige style" prevailed. Brother Shen helped push the stable lower case to the extreme. "Every gold edition of the jade book is used by the imperial court, hidden in the secret room, and the book is awarded to the country." Er Shen's calligraphy is regarded as a model of imperial examination. In the early Ming Dynasty, there were Liu Ji who was good at cursive script, Song Liao who was good at small seal script, Song Lian who was good at seal script, and Zhu Ke, a famous Cao Zhang master at home and abroad. And Zhu Yunming, Wen Huiming and Chong Wang.

2. The second stage-Zhong Ming

In the middle of Ming Dynasty, four schools of Wuzhong emerged, and calligraphy began to develop in the direction of business. Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong followed Zhao Meng to the Jin and Tang Dynasties and took the Supreme Law. The style of writing is also peerless, which is related to the development and liberation of thought at that time, and calligraphy began to enter a new realm of advocating individuality.

3. The third stage-Late Ming Dynasty

There was a critical trend of thought in calligraphy in the late Ming Dynasty, which pursued large-scale and shocking visual effects, borrowed the momentum from the side, spread it horizontally and vertically, and covered the paper with smoke, which made the original order of calligraphy begin to collapse. Representative calligraphers are Huang Daozhou, Wang Duo and Ni. Dong Qichang, commander of Tiexue Temple, still sticks to the traditional position.

Lyricism and Advocacy —— From Ming Dynasty to Qing Dynasty

In the late Ming and early Qing dynasties, the mainstream of aesthetics was based on lyricism, pursuing individuality and advocating rationality, and orthodox classical aesthetics coexisted with new aesthetics of seeking differences. The overall tendency of calligraphy in Qing Dynasty is to emphasize quality, which is divided into two development periods: paste learning and stele learning.

The wild pen and ink in the late Ming Dynasty is wild. Cynicism was further extended in the early Qing Dynasty. For example, the works of Zhu Fushan and others still show my inner life and an elusive emotional expression. This point reappeared in the mid-term "Yangzhou Eight Eccentrics". At the same time, the post-school system in the late Ming Dynasty was further developed. While respecting the tradition, Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi, Liang, Weng Fanggang, etc. all tried to show a new look, either using light ink or changing the composition structure. However, due to the inheritance of the post in the senior year, there is no good cleaning, understanding and adjustment, and some accumulated disadvantages are deepening day by day, making the decline of post learning inevitable.

At this time, more and more stone carvings were unearthed, and the literati turned from their keen interest in letters to the study of stone inscriptions. For a time, Xuebei was in full swing in the ruling and opposition circles, and finally, together with Ruan Yuan and Bao, it became a democratic trend of thought in the Qing Dynasty. Kang Youwei strongly advocated that stele study existed as a calligraphy system, competing with post-study. At that time, famous calligraphers were Jin Nong, Deng, He, Zhao, Wu Changshuo, Kang Youwei and so on. One after another, they used the tablet to write and draw, and each did his best. A dazzling situation. It can be described as a landscape of China calligraphy culture. If the epitaph's desire for quality has not been realized, then this desire has been realized in the study of steles.

Modern Fashion-Today's Calligraphy

In today's diversified calligraphy world, it is undoubtedly a great progress for calligraphy art to sublimate to the height of conceptual change. The modernity of calligraphy does not simply depend on the external appearance such as the form, structure and lines of calligraphy art, but on the modernization of internal spirit. The modern spirit of calligraphy refers to the value orientation of modern society embodied and transmitted by contemporary calligraphy art.

Calligraphy has a wide range of practicality.

The most basic activity of learning calligraphy is writing, and the primary purpose of writing is to remember things and exchange feelings. The minimum requirement is to write the words in a standard, neat and clear way, so that people are willing to accept them. If you write the words in a mess, or even make words at will, readers will interpret the "heavenly book" and lose its practical value if they can't recognize it. Some people think that writing with a brush is not as convenient as writing with a hard pen, and it can completely replace the brush. Only by writing with a brush can we learn calligraphy. Some people think that calligraphy is the patent of "genius" and "we are not cut out to learn calligraphy". Some older friends, in particular, are bound by stale ideas and think it is too late to learn calligraphy. Some people think that calligraphy is mysterious, incredible, impossible for God to find, difficult to express in form, and difficult to achieve good deeds. These ideas are not desirable, because as long as you write, there are rules to speak of, especially in many occasions where there is no "facade" of calligraphy, absolutely not. For example, trademarks, advertisements, slogans, couplets, calligraphy and painting banners are all inseparable from calligraphy. There is no denying that it is convenient and quick to compose words with pens, ballpoint pens and other tools, but no matter what tools you use to write, the rules are basically the same as those with a brush, so you should learn calligraphy no matter how you write. As for the age of learning calligraphy, there is no doubt that learning calligraphy from childhood or adolescence has great advantages, but older people also have many advantages in learning calligraphy. Young people have knowledge, life, experience, quick understanding, deep feelings and good expression, which is incomparable. As for "genius", it means "a person with this talent". Any cleverness and wisdom are acquired through enthusiasm, diligence and scientific research. "Nothing in the world is difficult to a willing mind" and "Nothing is afraid as long as you make up your mind." A calligrapher's answer to students' questions is enlightening, concise and memorable. "What age is the best for learning calligraphy?" A: "In terms of literacy, it is suitable for any age group." Q: "Can I become a calligrapher?" Answer: "You think you can-you can!" Learning calligraphy is the same as learning other arts. As long as we don't doubt our ability, have confidence and enthusiasm, and adopt proper methods, we will certainly succeed. Don't be intimidated by the metaphysics of some monopolists. They talked about calligraphy wonderfully, taught it abstractly, gave up the basics, and knew nothing about the closed loop, which delayed their later study. In fact, calligraphy is also like "enough paper", and it is also "broken with a poke". Its charm is acceptable, its image can be expressed, its technique is desirable and its composition can be reached. "Climbing into the room" is within reach.