Introduction to calligraphy fonts

(1) Introduction

During the pre-Qin and Fu Xishi 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 and bad luck, it is called "Oracle". However, 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 on Zhong Ding Yi wares, namely bronze inscriptions, also known as "Zhong Dingwen", were widely popular. After the unification of Qin Shihuang, it was 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 the characters of Qin State in the Spring and Autumn Period and the Warring States Period. Because this is an 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. The lines are even and long. Presenting a solemn and beautiful style. Compared with Oracle Bone Inscriptions and Jinwen, it has some basic features: slender shape. And the taut figure 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. No matter how long the stippling is, the lines are uniform. 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 and Fang Bi use round pens differently. The round pen is represented by Qin carved stone. Fang Bi is represented by the number of copyrights of Qin imperial edicts. 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 articles. There are few independent seal scripts. Tang seal. Recover from Li. Ren Qin Zhuan's heroic spirit has gone. Epigraphy in song dynasty and the restoration of calligraphy style in yuan dynasty. The right to use seal script increased slightly. Many people are famous for seal script, but they lack the power to surpass seal script. The wind of inheriting yuan dynasty in ming dynasty. Step evenly. In Qing dynasty, seal script was full of flowers. It entered a stage of great prosperity in the process of pushing the Tang Dynasty to surpass the Qin Dynasty.

First, seal script

There was a big seal before 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 bones, namely "Oracle Bone Inscriptions", were thin and straight, and the strokes were insignificant. In the Shang and Zhou Dynasties, the inscriptions cast on bronzes 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 font changes are rich and uneven During the Spring and Autumn Period and the Warring States Period, the characters carved on the stone gongs and drums were called Shi Guwen. The strokes are vigorous and dignified, slightly square in structure and beautiful in style. The above-mentioned Oracle Bone Inscriptions, Jinwen and Shi Guwen were called "Da Zhuan" in the Qin Dynasty.

Second, Xiao Zhuan

In 22 1 year BC, Qin Shihuang unified China. Li Si, the prime minister, sorted out and simplified the unified font, which was later called "Xiao Zhuan". The script of Xiao Zhuan 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 produced Qin Shu, sorted out and formulated the standard seal script of Qin Shu. The "Yishan Monument" 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- Second Assistant 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, during the period of divination, the names of diviners and divination events are all engraved with knives next to divination, and some even engraved with good or bad luck that comes true 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 in Xiaotun Village, Anyang, Henan Province more than 3,000 years ago. Oracle Bone Inscriptions is the first treasure in the history of China's calligraphy. His brush strokes have changed in thickness, lightness and quickness. His brushwork is light and urgent, thick and heavy, fast and neat, and has a certain sense of rhythm. There are all turning points in Fiona Fang, the square is steep and the round is soft. 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 tied a rectangle, which laid the foundation of Chinese font. Oracle Bone Inscriptions's knot is shaped with the body, let nature take its course. Its composition varies in size, and Fiona Fang is diverse, long and flat, scattered and harmonious. There are generally writing principles of Chinese characters in Oracle Bone Inscriptions, such as uneven levels, avoiding the heavy, bowing and echoing, overwhelming 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. Bronze character is another monument in the history of calligraphy in China. The tripod attached to the bronze ware is intended to "make people know the treachery of God", 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, and the most inscriptions were unearthed.

The main works of this period are: Li Chan, Heaven without Zen, Great Yu Ding, Mural Plate, Shisanpan and Muji 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 Zhou Dynasty and flourished in Qin Dynasty. Stone inscriptions in the Eastern Zhou and Qin Dynasties. There is a four-character poem carved on the granite drum stone of 10, which praises Qin's hunting, so it is also called hunting. Legend has it that the earliest stone carving is "Shenbei" in Xia Dynasty, and the style of carving poems is similar to that in 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. His 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 works of calligraphy before Qin and Han dynasties can only be seen in the books of Jianmeng and Bomeng. In ancient times, bamboo was 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. The forms and techniques of calligraphy in this period also showed a situation in which a hundred schools of thought contended. For example, the "Tadpole Prose" of the Northern Jin Dynasty, and the "Bird Book" of wuyue, Chu and Cai have many twists and turns. 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 characters, showing a kind of harmonious beauty, such as "a mirror of the king of Wu and 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. The famous calligrapher Li Si presided over the compilation of Xiao Zhuan. Lishan stone carving, Taishan stone carving, Langya stone carving and Huiji stone carving are books written by Li Si. All previous dynasties have a very high evaluation. The Qin Dynasty was a period of transformation of inheritance and innovation. The preface to Shuo Wen Jie Zi says: "Shu Qin has eight kinds of calligraphy styles, namely, Da Zhuan, Xiao Zhuan, Block Edition, Worm Edition, Copy, Official Script and Official Script." It basically summarizes the face of the font at this time. Li's seal script is harsh and inconvenient to write, so Li Shu 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. It not only makes Chinese characters tend to a square pattern, but also breaks through a single center in brushwork, laying a foundation for various calligraphy schools in the future. In addition to the above calligraphy masterpieces, there are scripts such as imperial edict, weight, tile, currency, etc. In the Qin dynasty, there were different styles. Calligraphy in Qin Dynasty left a brilliant page in the history of calligraphy in China, which was pioneering.

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 the seal printed by the tile, and the other is the ink of the book of bamboo and silk alliance. 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" has reached the requirements of retro etiquette and pioneering fetal interest. Inscription is the most important art form reflecting the times and charm, among which Feng Longshan, Xici Narrow, Kong Zhou, Yi Ying, Chen Shi, Zhang Qian and Cao Quan are especially praised and imitated by later generations. It can be said that each monument is unique and has no similarities. The northern book is magnificent and the southern book is simple, which embodies the different aesthetic pursuits of the "scholar" and "ordinary" classes. As for the tile seal and the silk slips, 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 calligraphy theory author at the turn of the Han Dynasty. The first monograph of calligraphy theory was Cui Yuan's cursive script 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".

Calligraphy on inscriptions and bamboo slips can best represent the characteristics of calligraphy in Han Dynasty. There were 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 initial stage of cursive script is cursive script. In the Eastern Han Dynasty, cursive script developed further and formed Cao Zhang. Later, Zhang Zhi founded a modern calligraphy style, 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 the Han Dynasty, and evolved into regular script, which became another theme of calligraphy art. Regular script, also known as official script and real script, 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, he advocated elegance and quality in life, and pursued the beauty of moderation and simplicity in art. Calligraphers came forth in large numbers, and bamboo slips were the two kings (Wang Xizhi. (Wang Xianzhi) Yan Fang's elegant artistic taste caters to the requirements of literati, and people increasingly realize that writing has aesthetic value. Wang Xizhi, the calligrapher who can best represent the spirit of Wei and Jin Dynasties and has the greatest influence in the history of calligraphy, is known as the "book saint". Wang Xizhi's running script "Preface to Lanting Collection" is known as "the best running script in the world". Critics say that his writing style is like a floating cloud and as agile as a dragon. His son Wang Xianzhi's "Ode to Luoshen" is very powerful, creating "breaking the body" and "a book", which is a great contribution to the history of calligraphy. With the help of Lu Ji, Wei and Jin Dynasties, Suo Jing, Wang Dao, Xie An, Liang Jian and other calligraphers, the Southern School calligraphy flourished. Yang Xin of Southern Song Dynasty, Wang Sengqian of Qi State, Xiao Ziyun and Chen Dou of Liang followed in his footsteps.

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, are Yuan Bo Tie, Tie in a Sunny 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. His masterpieces include Zhang Menglong Monument and Shi Jing Jun Monument. The representative works in the inscriptions are: A Thousand Words of True Grass. The Northern Dynasties sang praises to their ancestors, revealed the family business, and carved many stones, such as the North Monument and the South Post, the South Tour, the North People and the South Land, and the North Glory and the South Show.

For example, the representative work of the North-South School is Heming written by Nan Liang. 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 known as "the sage in the book", and the northern writer is Wang Youjun.

Ways to seek rules and regulations-Sui, Tang and Five Dynasties

calligraphy from the sui dynasty

The Sui Dynasty ended the chaos in the Northern and Southern Dynasties and unified China. Later, Tang Dou was a relatively stable period. The development of Nan Tie Bei Bei Bei went hand in hand with the Sui Dynasty, and the form of regular script was formally completed, which occupied the position of connecting the past with the future in the history of books. Sui Kai inherited the evolution of the Jin Dynasty and the Southern and Northern Dynasties. A new standardization organization was established in the Tang Dynasty. The Sui Dynasty left some monuments, most of which were real books, which were divided into four styles:

1: the Qifa Temple Monument of Ping Zheng Chun and Ruding Daohu, etc.

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

3. Deep and round power, such as' Faithful Zen Master Daming'.

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 valuable calligraphy works. The inheritance and innovation of calligraphy in the whole Tang Dynasty to 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 inherited 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 "people in the Tang Dynasty re-erected" in later generations, which was once honored as "the crown of calligraphy" and extended to the prosperous Tang Dynasty. Combining Confucianism and Taoism, Li Yong changed the right army to be independent. Zhang Xu and Huai Su pushed the expression of cursive script to the extreme of madness and drunkenness. Sun cursive script is good at being elegant, and He and Cao script also strive to create reality. On the other hand, Yan Zhenqing learned ancient methods from new ideas, and at the same time gave birth to new methods from old methods. Dong Qichang said that the Tang Dynasty took books as a mirror, and Duke Lu made a lot of preparations. During the late Tang Dynasty and the Five Dynasties, the national situation declined, and Shen Chuanshi. Liu Gongquan changed the model law. Expose your thinness and strength. It further enriched the method, in the Five Dynasties period, using both Yan and Liu. When the two kings were in power, the flank took a stance and made great efforts. Therefore, when they leave the chaos, they are the only image of Rao Chengping, which is also the light of Tang books. During the Five Dynasties, crazy Zen was very 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 Jin calligraphy was deliberately pursued. During the mid-Tang Dynasty, innovation continued and it was extremely prosperous. Calligraphy also improved in the late Tang Dynasty.

There were six institutions of higher learning in the Tang Dynasty, namely, imperial academy, imperial academy, Four Schools, Law, Calligraphy and Mathematics. Among them, calligraphy, which specializes in training calligraphers and calligraphy theorists, is a pioneering work in the Tang Dynasty. Famous artists come forth in large numbers and the stars are bright. 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".

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. In the early Tang Dynasty, with the prosperity of politics, the art of calligraphy gradually emerged from the legacy of the Six Dynasties and appeared with a new attitude. In the early Tang dynasty, regular script was the mainstream, and its overall feature was that its structure was neat and orderly.

(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. Such as Zhang Dian Drunken (Zhang Xu and Huai Su) and Li Yong's running script. In the middle Tang Dynasty, regular script made a new breakthrough again. Yan Zhenqing, as the representative, laid a standard for 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 and 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 chaos of the country, culture and art are also declining. Although the art of calligraphy continued after the end of the Tang Dynasty, it formed a general trend of decline due to the influence of war and fire. During the Five Dynasties, Yang Ningshi's calligraphy was praised. During the Five Dynasties when calligraphy declined, his calligraphy was a 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 masters" 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 related to 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 individuality and originality in calligraphy creation. These are all reflected in calligraphy. If the worship of Dharma in Sui, Tang and Five Dynasties is the embodiment of seeking "merit", 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 also be knowledgeable, that is, bookish, so that northern Song Sijia can change the face of Tang Kai. Direct promotion and calligraphy heritage.

Both Cai Xiang and Su Dongpo, who are innovative in learning, and Huang Tingjian and Mi Fei, who admire the ancients, strive to show their calligraphy style and highlight an unconventional posture, which makes the academic atmosphere between pen and ink gloomy and sandy and gives people a new aesthetic mood, which is reflected in Wu Ji 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 Northern calligraphers. Calligraphers in Song Dynasty were represented by Su, Huang, Mi and Cai.

Calligraphy art in yuan dynasty

At the beginning of the Yuan Dynasty, the economic and cultural development was not great, 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 the Yuan Dynasty was to pursue the beauty of openness, so Su Shi advertised that "I can't build this book with my intention" and Zhao Mengfu advocated 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 central figure in Yuan Dynasty was Zhao Mengfu, who created his 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 has never surpassed the two kings, his calligraphy has a unique understanding of the essence of Wang's calligraphy, which is manifested in the style of "Wen Ya" and "elegance", 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 of the Yuan Dynasty, the characteristic of the calligraphy of the Yuan Dynasty is "respecting the ancient and attaching importance to the post", and its great achievement is still in cursive script. As for Zhuanli, although there are several famous artists, they are not very good. This kind of calligraphy with line and cursive script as the mainstream didn't change until the Qing Dynasty. There was a style of calligraphy in Yuan Dynasty, which flourished in Song Dynasty and Tang Zongjin. Although they have their own merits, they can't gain a foothold in calligraphy 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 "one word with many images" and "Taige style" prevailed. Senior brother Shen took the stable lower case to the extreme. "Every gold-plated jade book is used by the imperial court, hidden in the secret room, and the book is awarded to the country, and it must be ordered." 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 script, Song Sui who was good at seal script, and Zhu Ke, a world-renowned master. There are Zhu Yunming, Wen Huiming and Chong Wang.

2. The second stage-Zhong Ming

In the mid-Ming Dynasty, four schools of Wuzhong emerged, and calligraphy began to develop in the direction of Shang. 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 unparalleled, 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

In the late Ming Dynasty, a critical trend of thought appeared in the calligraphy circle, pursuing large-scale and shocking visual effects, spreading horizontally and vertically from the side, and the original order of calligraphy began 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: the study of calligraphy on posts and the study of steles.

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. On the basis of respecting tradition, Jiang Ying, Zhang Zhao, Liu Yong, Wang Wenzhi, Liang, Weng Fanggang, etc. either wrote in light ink, or changed the composition, trying to show a new look. However, due to the inheritance of the post in the third year of high school, it has not been well cleaned up, understood and adjusted, and some accumulated disadvantages have deepened 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 movement of learning steles was in full swing in the ruling and opposition parties, and finally became a democratic trend of thought in the book circle of Qing Dynasty together with Ruan Yuan and Bao. Kang Youwei vigorously promoted that stele study is a calligraphy system that competes with post study. At that time, famous calligraphers were Jin Nong, Deng, He, Zhao, Wu Changshuo, Kang Youwei and so on. Writing and painting with rubbings one after another, doing my best. A dazzling situation. It can be described as a landscape of China calligraphy culture. If the desire of epigraphists to find quality has not been realized, then this desire has been realized in the study of epigraphy.

Modern Fashion-Today's Calligraphy

In today's diversified book world, 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 scribble words or even make words at will, readers will lose its practical value if they can't recognize the book. 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", "We are not born to learn calligraphy". Some elderly friends, in particular, are bound by the old idea that it is too late to learn calligraphy. Some people think that calligraphy is mysterious, impossible for God to find, difficult to express in form and difficult to achieve good deeds. All 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. Undeniably, it is convenient and quick to use pens, ballpoint pens and other tools to set up characters, but no matter what tools are used to write, the rules are basically the same as those of using a brush, so you should learn calligraphy anyway. As for the age of learning calligraphy, there is no doubt that learning calligraphy from childhood or adolescence has great advantages, but the elderly also have many advantages in learning calligraphy. Young people have knowledge, life, experience, quick understanding, deep feelings and good expression, which are incomparable to young people. As for "genius", it refers to "a person with this talent". Any intelligence and wisdom is acquired through enthusiasm, diligence and scientific research. "Nothing is difficult in the world, as long as you are willing to climb." "As long as you make up your mind, you are not afraid of anything." Calligraphers' answers to students' questions are enlightening, concise and unforgettable. "What age is the best for learning calligraphy?" A: "In terms of literacy, it is suitable for any age." 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 use appropriate methods, we will certainly succeed. Don't be intimidated by the metaphysics of some monopolists. They talked about calligraphy wonderfully, taught abstraction, gave up the root and sought the end, 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.

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