Traditional case paper of Yin and Shang Dynasties

Abstract: The formation of a special calligraphy style and a special painting style has its origins. For example, the works and artistic styles of this family are inherited by other families, and the artistic style of the former becomes the source of the artistic style of the latter.

The formation of a special calligraphy style and a special painting style has its origins. For example, the works and artistic styles of this family are inherited by other families, and the artistic style of the former becomes the source of the artistic style of the latter. This source is either contemporary or pre-era. This artistic style not only comes from that artistic style, but also retains some similarities in form and character of the former style, which is the genre. For example, if we get a cursive script of the Ming Dynasty, people who know the calligraphy schools can say without thinking that Zhu's cursive script comes from Su's cursive script and is influenced by the cursive scripts of the Song Dynasty and the Yellow Valley. Therefore, Zhu Zhishan's cursive script is the school of Huai Su and Huanggu.

Some people may ask, does the genre of calligraphy and painting have anything to do with identification? To illustrate this problem, let me give another example: Four Ancient Poems, a cursive script written by Tang Zhangxu, is a very difficult problem in identification, because Zhang Xu's real pen is unique and cannot be compared. At the same time, Zhang Xu himself didn't pay for the book. According to Amin Dong Qichang's appraisal, it is said that it is Zhang Xu's genuine pen. Because Dong Qichang has read Zhang Xu's Poems on Smoke and Poems on Wan Ling, it is the same as this post. These two poems don't exist now, and I don't even know if they are still circulating. Therefore, the basis on which Dong Qichang was based has not been used as a basis until now. The style of this volume of cursive "Four Ancient Poems" is a special form, which has never been seen in calligraphy from Jin Dynasty to Tang Dynasty, but it is the style of Tang Dynasty in terms of its time. Before there is other evidence, the first step that can be identified can only stop here. According to historical records, Yan Zhenqing's calligraphy style is to accept Zhang Xu's brushwork. From Su's Preface and Zang Zhen Tie, we can see the calligraphy relationship between Yan Zhenqing and Zhang Xu. Therefore, some experts who appraised Four Ancient Poems paid special attention to Tang Yan Zhenqing's Liu Zhong Messenger. The latter paragraph of Liu Zhongshi has its special * * similarity with this volume of Four Theories on Ancient Poems in Cursive Script, and the relationship between their brushwork and personality shows Liu Zhongshi's brushwork. Obviously, it comes from the cursive brushwork of Four Poems, not from Liu Zhong's Messenger. Because the mature stage of the two is the same, and the nature of the mature stage is different, experts can see it at a glance. Besides, according to Huang, a great calligrapher in the Northern Song Dynasty, the calligraphy style of the Five Dynasties is quite similar to that of Zhang Xu and Yan Zhenqing. At present, Yang Ningshi's ink, such as Notes on the Immortal, Summer Post and so on, is similar in form and style to this cursive script Four Posts of Ancient Poetry. All this shows that Four Ancient Poems is the forerunner of this writing, so it can be admitted that Dong Qichang's evaluation is credible. The basis of understanding is the genre relationship between the two, the particularity between the two and the penetration of the same sex. Using this knowledge, the role of appraisal lies in: first, explaining the era of some works; Second, explain the period of some works.

However, no doctor's prescription can cure all diseases. Even if we master the genre of painters and calligraphers, we can't separate each painting and calligraphy from their authenticity and right and wrong. But for the appraiser of calligraphy and painting, it is the first step for us to get started. The following is a brief description and introduction to the schools of painters and painters.

1. Calligraphy

Although it is difficult to determine when Chinese characters originated, according to archaeological data, Oracle Bone Inscriptions is the earliest mature font found in China. It is a kind of writing carved on tortoise shell bone in ancient times. In the 25th year of Guangxu reign in Qing Dynasty (1899), it was discovered in Xiaotun Village, five miles north of Anyang, Henan Province. This place used to be the old capital of Yin and Shang Dynasties. When it was first discovered, many Oracle bones were washed away and abandoned on the ground because the levee around the water was broken. Someone found this thing while plowing the land. But people didn't know it at that time, so they didn't pay much attention. Later, some people called it keel, which was used as medicine. In the twenty-sixth year of Guangxu, Wang found more than 100 pieces and brought them to Beijing, attracting people's attention. Since then, it has been the basis for archaeologists to study and determine its value in the cultural history of China.

This kind of Oracle Bone Inscriptions is mostly used to record divination. Ancient people worshipped ghosts and gods and divined everything they met. They took the plane of tortoise shells and animal bones, scraped off some obstacles on the epidermis, and carved Oracle Bone Inscriptions on it. Because it records the deeds of the Yin and Shang Dynasties, we know that it is a relic of the Yin and Shang Dynasties, so it is also called the Yin Ruins Book Deed. The big fonts are one inch square, and the small ones are like lines, but they are all exquisite. Most Oracle characters have a process of writing first and then engraving. Some were written in ink or ink on jade, bone and pottery, and some were engraved first and then filled with ink, which was used until the Western Zhou Dynasty. At that time, most of Oracle Bone Inscriptions only engraved without filling.

From the perspective of calligraphy, Mr. Zhong Mingshan thinks in A Brief History of Calligraphy in China: "Oracle characters can be roughly divided into two types: one is thin, hard and straight, and the other is meticulous; A vigorous chalk road. Oracle Bone Inscriptions was carved with a knife. The knife is blunt and sharp, and the bone is thin, hard and loose. The strokes are thick and thin, square and round. The strokes formed by knife carving are folded in many places, and the intersection of strokes is seriously peeled off, leaving many methods of using a pen and a knife for later calligraphy seal cutting. Structurally, the changes in Oracle Bone Inscriptions are complicated and varied, but a balanced, symmetrical and stable pattern has been set. From the point of view of composition, it is either scattered or neat and dignified, which changes with the size and shape of bone fragments, showing simple and romantic interest. It has given beneficial enlightenment to the innovation of modern calligraphy. Thin yin ink: jade tablets, pottery tablets, animal bones inking calligraphy, Zhu calligraphy, horizontal and vertical strokes are as thick as paint, naturally hiding the front, and the nib is as thin as a horizontal needle and hanging needle; The turning point is round and natural, which is particularly valuable. Of course, there are also some works with delicate strokes in Oracle bones in the later period, which is not enough. " Obviously, Zhong Mingshan thought that only when he arrived in Oracle Bone Inscriptions could he be called calligraphy. The reason is that not all the previous calligraphy symbols have three elements of calligraphy: pen, knot and composition. Oracle Bone Inscriptions's discovery, on the one hand, opened up a new world for the calligraphy world, and many calligraphers borrowed from it to create a new style, making this book interesting and unique. On the other hand, many people think that although Oracle Bone Inscriptions is quaint and lovely, the font is not easy to understand and is not suitable for copying, which is a hobby of a few people.

Zhong Dingwen refers to the characters on the Yi wares of Zhong Ding in the three generations, and its discovery began in the Han Dynasty. During the period of Emperor Wu of the Han Dynasty, someone got a treasure tripod in Fenyin and gave it to the emperor, so the court changed the year number and called it Ding Yuan, which was in 1 16 BC. The words in Zhong Ding's works a few weeks ago were unpretentious, with short inscriptions, mostly only two or three words, and the words were abstruse, which was difficult for ordinary people to understand. In the Zhou dynasty, there were more and more artifacts, and the inscriptions were longer and longer, with more than three or four hundred words and elegant words.

As far as fonts are concerned, inscriptions on bronze in the early Zhou Dynasty are similar to Oracle Bone Inscriptions and inscriptions on bronze in Shang Dynasty in strokes and characters. This work is represented by the inscription "Great Yu Ding", a heavy weapon of Kang Wang unearthed in Qishan during the light year of Qing Dynasty. Others, such as the inscriptions of "Li Chan" and "Dafeng Zen" in the reign of King Wu; Inscriptions of Gui Ling, Dading and your father when they ascended the throne; The inscription of Maiding in the reign of King Kang also belongs to this category. Comparing this kind of inscriptions with Oracle Bone Inscriptions, Di Xin's Four Sacrifices and Shang Dynasty's Moshu pottery tablets, we will find that there are many similarities between them. Most strokes are tapered from beginning to end and thicker in the middle. The characters such as "father", "you", "people", "official", "ten" and "Xin" are collected and drawn, and the pen tip is thin, gradually pressed into a thick pen, and then the pen is tapered to form a bucket-tail stroke with a sharp head, a big belly and a short tail. The words "Tian", "San", "Si" and "Ling" often have round strokes and thin strokes, and still have the meaning of fighting. At the same time, the characters in the inscription are uneven in size, oblique and varied. It can be seen that Jinwen was developed by Oracle Bone Inscriptions.

From Wang Zhao to Wang Xuan and Wang You in the Western Zhou Dynasty, bronze inscriptions gradually entered a mature stage. The main features of his calligraphy are: (1) the strokes are round and even. Starting, receiving and converting are mostly round pens. In order to make future generations learn seal script, we must use hidden front, wrapped front and middle to draw a pen to get the meaning of seal script. This kind of round and hidden strokes is the origin of the round brushwork of official script and regular script. The turn of cursive script also got enlightenment from it. ⑵ The structure is more compact, straight, stable and regular than the bronze inscriptions at the beginning of Zhou Dynasty. For example, there are four characters "Wu" in the inscription, which are identical in structure, stable in center of gravity and echoing up and down. It can be said to be a good example of compact structure. (3) From the perspective of composition, except for the last line, which is slightly crowded, the whole article is vertical with little spacing; There are horizontal bars and large spacing between words, which set a precedent for later Han Li tablets such as Cao Quanbei. Among them, the rules bounded by Dakeding, Xiaokeding and Zongfugui are particularly strict and standardized. Ji Guo Gan Bai Pan is the most distinctive one in the Western Zhou Dynasty because of its large spacing and spacing.

During the five hundred years of the Spring and Autumn Period and the Warring States Period, the calligraphy of eastern countries such as Lu, Qi, Ji, Zhu, Qi, Dai, Yan, Jin, Su, Zeng, Chen, Zheng and Cai all inherited the characteristics of mature Western Zhou calligraphy. The Western Qin Dynasty also inherited the calligraphy features of the inscriptions on bronze in the Western Zhou Dynasty and produced an epoch-making excellent calligraphy work: Shi Guwen. Shi Guwen is ten steamed bread-shaped stones, and each stone has a rhyme. The genre of poetry is similar to the four-character poem in The Book of Songs. Since the Tang and Song Dynasties, the age of stone carvings has been debated endlessly. Some people say it was carved in the early Zhou Dynasty, while others say it was carved in the late Zhou Dynasty. People in the Tang Dynasty thought that Zhou Wenwang or Zhou Xuanwang was the first emperor before the Song Dynasty. Modern scholars believe that there are many stone carvers in the Qin Dynasty, but there are still theories of Wen Gong, Mu Gong, Xiang Gong and Gong Xianzhi. According to the development of inscriptions, documents, vocabulary, writing and calligraphy at that time, Mr. Tang Lan confirmed that the stone drum was made in the eleventh year of Qin Xiangong (374 BC), and the argument was comprehensive and convincing. If there is no new formulation, it seems to have become a conclusion.

Shi Guwen is round and powerful, with a square circle. The structure is slightly biased towards Fang Zhengzhi, taking advantage of its strengths and weaknesses and taking its name. The word spacing is wide, balanced and neat, and it will be bright if it is sunny. The word is larger than one inch, close to the big print. It is not an exaggeration to be strong, simple and natural, which is the "first rule of calligraphers". Later, the seal script compiled by Li Si also came from this. There are many plagiarists in past dynasties. The inscriptions of Qin Gonggui and Qin Gongzhong are similar to those of Shi Guwen. Other calligraphy works such as Guo and Yu are similar. In addition, there are some inscriptions unearthed from the tomb of King Sun Yat-sen, such as "Washing the Bell" and "Purple Bell", with euphemistic and fluent fonts and deliberately exaggerated structural density. There are also uneven and grotesque inscriptions such as Zhong and Ding. As for the weapon writing, it's like a book of birds and insects. The inscription "Sword of the King of Yue Zhou" belongs to the combination of seal script and artistic writing. Jade inscriptions, ancient empty characters, currency characters, Jeff characters, and ink left in simplified books all have their own characteristics, and often appear in the form of one word, forming a grand occasion for a hundred flowers to bloom in bookstores.

A glyph, later called odd character, what is odd character? This is a writing style different from ancient Chinese. There are some examples in Shuowen Jiezi, most of which are other characters of Guzhang, or their strokes are increased or decreased, or their shapes are changed. The Biography of Yang Hanxiong says that Liu Xin's son Liu Ba learned variant characters from Yang Xiong, and this is the way to write it. From the function of characters, this unique calligraphy style and multi-character phenomenon just provide valuable information for calligraphy.

When Qin Shihuang determined that calligraphy had eight styles, it was called eight styles. One is the big seal script, the other is the small seal script, the third is seal cutting, the fourth is insect script, the fifth is copying, the sixth is official script, the seventh is official script, and the eighth is official script. Insect script, also known as bird script and bird seal script, is an artistic font of seal script with the head of a bird as the pen and the worm as the thread, which is the continuation of the inscription on James Zhou, the king of Yue in the Warring States Period. Carvings such as "new wife" and "Yangling" are small seals; Imitating the founder's seal script, it was first created by Chinese and Indian. House number book, seal script book and weapon engraving book are only changes in the application scope of big seal, small seal or official script. The so-called "Qin Shu Ba Ti", as far as Chinese characters are concerned, is nothing more than Da Zhuan, Xiao Zhuan and Li Shu.