Evolutionary history of calligraphy

In short: (Oracle Bone Inscriptions)-(bronze inscription)-(seal script)-(official script)-(cursive script)-(running script)-(regular script)

Appendix:

From Shang Dynasty to Western Han Dynasty —— The Perfect Order of Calligraphy

From the Xia, Shang and Zhou Dynasties, through the Spring and Autumn Period and the Warring States Period, to the Qin and Han Dynasties, the historical development of more than 2,000 years also promoted the development of calligraphy art. During this period, various calligraphy styles appeared one after another, including Oracle Bone Inscriptions, bronze inscriptions, stone carvings, bamboo slips and Zhu Mo's handwriting. Among them, seal script, official script, cursive script, running script, regular script and other fonts were stereotyped in the screening and elimination of hundreds of miscellaneous characters, and the art of calligraphy began to develop in an orderly manner.

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, Prime 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 —— Calligraphy from the Eastern Han Dynasty to the Southern and Northern Dynasties

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 Yong's "Shi Ping Jing" has reached the requirements of restoring ancient ways and creating interesting tires. 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 the earliest calligraphy theory author was Yang Xiong 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. One is cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi.

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 representative work of the North-South School is Nan Liang's Yi heming. 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. [Edit this paragraph] Seeking the Method of Governance-Calligraphy in Sui, Tang and Five Dynasties

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". [

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 neat, so the essays of later generations are called "the crown of calligraphy in Tang Dynasty" and were once honored as "the crown of calligraphy in Han Dynasty" and continued to the prosperous Tang Dynasty. With the combination of Confucianism and Taoism, Li Yong changed the style of the Right Army and became unique. Zhang Xu and Huai Su pushed the cursive performance to the extreme with their drunkenness. Zhang Xu is known as the "sage of cursive" in history, and Sun Caoshu is famous for his elegance and agility. 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 integrity and strictness of calligraphy in the Tang Dynasty came to an end, and then the "Four Books" in the Northern Song Dynasty came one after another, setting off a new wave of the times.

Calligraphy from Song Dynasty to Ming Dynasty and Middle Song Dynasty

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 advocates 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. In other words, besides being natural and diligent, calligraphers should also be knowledgeable, that is, bookish. Northern Song Sijia changed the face of the Tang Dynasty and directly inherited the tradition of calligraphy.

No matter Cai Xiang and Su Dongpo, who are talented and innovative, or Huang Tingjian, who admires the ancients, and Mi Fei, who is adventurous in No.3 Middle School, they all strive to show their own calligraphy style, and at the same time highlight an unconventional posture, which makes the spirit of learning depressed between pen and ink, giving people a new aesthetic mood, and has been further extended by calligraphers such as Wu Shuo, Lu You, Fan Chengda, Zhu and Wen Tianxiang in the Southern Song Dynasty. 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 manifested in the pursuit of open beauty, so Su Shi flaunted "opposing the book with meaning" and Zhao Mengfu advocated "it is not easy to use a pen through the ages". The former pursues the meaning of speed, while the latter emphasizes the meaning of intention. Zhao Mengfu was a key figure in the Yuan Dynasty. His regular script "Zhao Ti", together with the European style, strict style and Liu style in the Tang Dynasty, became the main style of calligraphy in later generations. Because Zhao Mengfu's calligraphy thought is definitely not one step ahead of the two kings, his calligraphy has a unique understanding of the subtleties of Wang's calligraphy, which is characterized by "gentle and elegant" and "elegant and elegant" style, which is also related to his spiritual liberation from the detached state of Buddhism and aesthetics. 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 times and respecting 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 style of calligraphy in Yuan Dynasty, which still prevailed in calligraphy from Song Dynasty to Tang Zongjin. Although each has its own merits, none of them can stand tall in the calligraphy world as a family. 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:

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 letters, Song Lian who was good at seal script, and famous calligraphers. And Zhu Yunming, Wen Huiming and Chong Wang.

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. The four sons, Zhu Yunming, Wen Zhiming, Tang Yin and Wang Chong, went to Jin and Tang Dynasties according to Zhao Mengfu's statement, taking 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.

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.

From the middle of the Ming Dynasty to the end of the Ming Dynasty and the beginning of the Qing Dynasty, the main trend of aesthetics is to express emotion and promote reason, pursue individuality and admire rationality, and orthodox classical aesthetics coexists 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, the government and the people flocked to the study of steles, which eventually became a democratic trend of thought in the Qing Dynasty, together with Ruan Yuan and Bao. 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 is diversified, and the art of calligraphy has been sublimated to the height of conceptual change, which is undoubtedly a great progress. 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 write with pens, ballpoint pens and other tools, but the rules for writing with any tool are basically the same as those for writing 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. Calligrapher Mei replied: The so-called "genius" 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." Mei calligrapher's answers to students' questions are enlightening, concise and unforgettable. "What age is the best for learning calligraphy?" A: "Any age is suitable for literacy." 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 "a poke that breaks". 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.

Calligraphy is an art.

Chinese characters are different from foreign languages in stippling, structure and form. It has subtle changes, different forms and different interests. "Through the rich changes in the intensity, shade and thickness of stippling lines, the ups and downs of writing content and thoughts and feelings, and the distribution of font spacing and lines, a beautiful composition layout has been formed. Some are carved like jade dragons, some are towering peaks, some are handsome and unrestrained, and some are bold and unrestrained, which makes the written words have a strong artistic color." Calligraphy is a wonderful flower in national art, and the world is gratified by it. From it, we can appreciate its spiritual demeanor, spiritual artistic conception, life interest, aesthetic pursuit and the flavor of the times ... So exciting masturbation art, why not?

Calligraphy is good for health.

"Writing a book can nourish the spirit and help the spirit." When practicing books, don't worry about the spirit of doubt, start your whole body, exert your strength to the end, write it down on paper, express your mind and relax. This has a certain adjustment and exercise effect on people's psychological and physical aspects. Over time, it can make people feel refreshed and live a disease-free life. Even if you are unfortunate enough to get sick, you can practice calligraphy. The more you nourish your heart, the more you get sick and the longer you live. Throughout the ages, calligraphy can make people live a long and healthy life, rather than just wasting their time. For example, the average life expectancy of Ou Yangxun, Yan Zhenqing and great calligraphers in history was 79.2 years, and Yan Zhenqing was killed at the age of 76, otherwise his life expectancy would be even longer. According to the data, 28 famous painters and calligraphers in Ming and Qing Dynasties lived 12.7 years longer than monks, indicating that painting and calligraphy activities may be more beneficial to health than monks' practice, which is well known to the world. Mr. Li Zhen, a 76-year-old "general calligrapher", recovered from his heart disease by practicing calligraphy and stopped worrying about insomnia. He said with deep experience that learning calligraphy, "over time, there will be gains." This "harvest" is not only in calligraphy, but also beneficial to health. "It can be seen that the ink splashing pool is indeed a fitness feat. As long as you persevere and persevere, you can turn "calligraphy" into a wonderful "way of keeping in good health"

Calligraphy can cultivate sentiment.

Perception is the synthesis of emotion and thinking. Calligraphy is a science and an art, and its beauty comes from nature, life, social practice and other things. The characteristics, techniques, theories and artistic conception of calligraphy are extremely extensive. "There are books in my chest, and my writing is not bad." Learning calligraphy covers literature, philosophy, aesthetics, astronomy, geography, history and other aspects. Obviously, we can't simply understand calligraphy as writing. Calligrapher Mr. Wu Shanmao put it well: "Calligraphy is writing, but writing is not all calligraphy." The inherent law of calligraphy determines the seriousness of learning books. This requires learners to have a good psychological state, with a high degree of learning enthusiasm, vigorous enterprising spirit and scientific thinking activities, and treat them with sincerity. Must be diligent and tireless, to prevent a whim, give up halfway; We should go deep into life, broaden our horizons and prevent arrogance and hypocrisy. It is necessary to strengthen self-cultivation, broaden artistic conception, and prevent sticking to the rules and abandoning basics; We should enrich our knowledge, make the past serve the present and prevent ourselves from making a fool of ourselves, Dont Ask For Help; We must be greedy for appreciation, learn to innovate, and prevent Chen from being like Chen. Otherwise, you will waste your time and accomplish nothing. In a word, happiness is endless. Let's accumulate the wisdom of human beings and make flowers in our works!

China's calligraphy is an ancient art, from Oracle Bone Inscriptions and inscriptions on bronze to Da Zhuan, Xiao Zhuan and Li Shu, and then to cursive script, regular script and running script in the Eastern Han Dynasty and Wei and Jin Dynasties. Calligraphy has always exuded artistic charm.

China's calligraphy has a long history, reflecting the spirit of the times with different styles, and the artistic youth is eternal. Browse the calligraphy of past dynasties, "Jin people like rhyme, Tang people like law, Song people like meaning, Yuan, Ming and Tai". Tracing back to the development of calligraphy for 3,000 years, we can clearly see that it keeps pace with the legal development of China society and strongly reflects the spiritual outlook of each era. Calligraphy art is a unique treasure in the world and a wonderful flower of Chinese culture. Calligraphy art is the most typical embodiment of the beauty of oriental art and the Excellence of oriental culture, and it is an artistic treasure that our nation will always be proud of. It has a profound mass base and artistic characteristics that no art in the world can match. The art of calligraphy is more and more favored by everyone.

The history of China's calligraphy can be divided into stages, with Yan Zhenqing in the Tang Dynasty as the dividing point, which was previously called "the evolution period of calligraphy style" and later called "the evolution period of style". In the evolution of calligraphy style, the main trend of calligraphy development is the evolution of calligraphy style, and the display of calligrapher's artistic style is often linked with calligraphy style. When the style changes, there is no need to create a new font. To this end, calligrapher Mei put forward the idea of "respecting meaning". The "style of writing" is fixed, while the "meaning" is alive, further strengthening the author's main role.

China is not the only country with calligraphy, but also Japan, South Korea and North Korea, all of which are influenced by China culture.

Japanese calligraphy is called Shu Dao. Originated in China. According to Japanese records, in the fifty-eighth year of Shen Ying, Wang Renjin, ambassador of Baekje Kingdom of Korea, presented ten volumes of The Analects of Confucius and one volume of Thousand-character Works, which was the beginning of the spread of Chinese characters to Japan (the exact year is unknown). But before that, I had a clear understanding of Chinese characters in my contact with China. It was a man named Wang Ren who arrived in Japan. He brought systematic Chinese characters and China classics, so this is the real beginning for Japanese people to learn Chinese. Later, the descendants of A Zhijun and Wang Ren assimilated into the Japanese when they arrived in Japan, and became the eastern and western parts in the land of Yamato and Hanoi, serving as cleaners and cashiers of sacrifices. In the Tuguhun Dynasty, Japan established diplomatic relations with the Sui Dynasty, and brought China calligraphy with foreign students and returning monks.

After Japan worshipped Wang Xizhi, it had a great influence on the formation of Japanese calligraphy. In the later period, pseudonym calligraphy finally had its own characteristics.

Korean calligraphy originated from the writing form of Chinese characters, and each Chinese character is an imaginary square composed of lines with different shapes, all to express a unique meaning. Calligraphy has always been closely related to painting in Korea. They believe that painting is influenced by calligraphy from the perspective of strong and harmonious brushwork arrangement. Therefore, in Korea, the art of calligraphy is more valued than the art of painting. People often hang calligraphy works on the wall like paintings, appreciate every uniqueness of it like paintings, appreciate its ink charm, and appreciate the skill, backbone and charm of its whole layout.

Korean calligraphy has a long tradition. Koreans began to use Chinese characters to express their wishes or behaviors in the second or third century AD. Even after 1446 created Korean alphabet Chinese characters, Chinese characters are still used as official characters. It is understood that since then, China literature has been taught in the Royal Academy and state-owned institutions of higher learning. Calligraphy has a long history. In many centuries, countless nobles and artists have made outstanding efforts to promote the art of calligraphy. Unfortunately, after many foreign invasions and internal disputes, few ancient calligraphy works have been preserved so far. Especially the seven-year war between Toyotomi Hideyoshi and the Japanese army at the end of 16, which caused many deaths and caused serious damage to historical stone tablets and cultural relics all over the Korean peninsula. So there are less than 20 surviving calligraphy works belonging to the pre-war era.

There is even less information about the height of calligraphy art in Baekje Kingdom in Southwest China. Judging from the high level and exquisite works of art of the literati in this kingdom, it is likely that they have reached a quite mature level in calligraphy. During the period of 1972, many cultural relics with important archaeological value were found in the tomb of King Wuning and Queen Wuning, which was accidentally discovered by Zhou Gong, the ancient capital of Baekje in central Korea. One of the square stone tablets is rare for calligraphers and epitaphs. This stone tablet was placed at the entrance of this tomb in the sixth century, similar to the contract to buy a piece of land from the underground gods in order to build this tomb. The Chinese characters carved on the stone tablet have beautiful fonts, showing high technology.

In the subsequent era of great unification and Silla, many calligraphers, such as Jin Sheng and Cui Zhiyuan, appeared because of advocating the culture of the prosperous Tang Dynasty in China. Their fonts basically follow the calligraphy masters Ou Yangxun and Yu Shinan. Another master of calligraphy, Wang Xizhi, is also highly respected, and his cursive script is widely copied by people. However, the Ou Yangxun style spread from Silla Kingdom, with square fonts, still dominated the Korean era until about 1350.

The most famous calligrapher in the Korean era was Kim Jong-hye, a realist. Jin Zhenghui is an outstanding calligrapher and scholar. He established a style called "Autumn History School". His calligraphy was born out of China's official script, but its layout is full of painting feeling, and he is good at seeing harmony in asymmetry, and his brushwork is extremely powerful, which makes his words full of vitality. Because of these talents, he finally created his own vivid and powerful style.

In Korea, learning calligraphy is considered to be a necessary process for cultivated people to cultivate their sentiments. The practical function of calligraphy as a means of writing or transmitting information is often not as important as the philosophical significance contained in writing quality. In South Korea, as in China and Japan, calligraphy is regarded as an elegant art, and calligraphers are respected by people. Although Korean calligraphy organizations don't have a complete system like China's, Korean calligraphy folk organizations are very popular and have frequent activities. The Korea Haidong Research Association, which hosted our visit to Korea, is an excellent non-governmental organization. Haidong Calligraphy Research Association was established in August 197 1, with over 200 large-scale calligraphy activities and numerous international calligraphy exchanges, which is really commendable for a non-governmental organization. Mr. Jin Dongyuan, the president, is an outstanding calligrapher with great influence in Korean calligraphy. Mr. Jin advocates tradition and attaches importance to foundation. His handwriting is sometimes close to seal script, sometimes close to official script, or consider the choice between the two. It can be said that he has a strange change, is personable, and does whatever he wants without overstepping the bounds.