The Origin and Development of Ancient Calligraphy in China

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. Looking through the calligraphy of past dynasties, we can see that "Jin people like rhyme, Tang people like law, Song people like meaning, Yuan, Ming and Tai". Tracing back to the development track 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 several stages. Generally speaking, Yan Zhenqing in the Tang Dynasty can be regarded as a dividing point, which was called "the evolution period of calligraphy style" before and "the evolution period of style" later. 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. So calligraphers 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.

First, the origin of calligraphy

Calligraphy is the art of writing Chinese characters. It is not only the cultural treasure of the Chinese nation, but also unique in the treasure house of world culture and art. In the long historical evolution and development, on the one hand, Chinese characters play an important social role in the exchange of ideas and cultural heritage, on the other hand, they also form a unique plastic arts. According to modern textual research, regarding the origin of China characters, it is generally believed that characters were created in the "Yangshao Culture Period" in the middle reaches of the Yellow River in China about five or six thousand years ago. Yangshao culture was named after it was first discovered in Yangshao Village, Shengshan, Henan Province in 192 1. In the past 40 years, there have been many discoveries.

There are three kinds of characters of all nationalities in the world, namely ideographic characters; Ideographic characters; Recording. Chinese characters are typical ideographs developed on the basis of ideographs. The method of pictographic writing is to draw the real thing. While painting tends to be more simplified and abstract, becoming a symbol that highlights the physical characteristics, representing a certain meaning and having a certain pronunciation ... Our Chinese characters have gradually taken shape, from pictures and symbols to creation and stereotypes, from ancient China seal script to small seal script, from seal script to official script, regular script and cursive script. In the process of writing and application of Chinese characters, the unique and independent calligraphy art of all nationalities in the world has gradually emerged.

Second, prehistoric Zhixia-calligraphy born in chaos

China's calligraphy art began in the generation stage of Chinese characters. "Voice can't spread in different places, but stay in different times, so words were born. Therefore, the author is the trace of meaning and sound. " As a result, words came into being. The earliest works of calligraphy art are not words, but some descriptive symbols-hieroglyphics or picture words.

Symbols depicting Chinese characters first appeared on pottery. The primitive depiction symbol only represents a rough concept of chaos and has no exact meaning.

More than 8,000 years ago, magnetic mountain culture, Fiji and Khan Lee cultures appeared in the Yellow River Basin. There are many symbols on the handmade ceramics unearthed in Fiji and Khan Lee, which are the chaotic combination of the communication function, note-taking function and pattern decoration function of the ancestors. Although these are not real Chinese characters, they are indeed the embryonic forms of Chinese characters.

Immediately after the Banpo site of Yangshao culture about 6000 years ago, some painted pottery with similar characters were unearthed. These symbols are distinguished from patterns, which promotes the development of Chinese characters. This can be said to be the origin of China characters.

Then Erlitou culture and Erligang culture. In the archaeological excavation of Erlitou culture, there are 24 kinds of marked pottery pieces, some of which are similar to Oracle Bone Inscriptions in Yin Ruins, and all of them are single independent characters. Erligang culture was found to have a writing system. Three bones with words were found here, two with words and a cross, which seemed to be carved for practicing lettering. This has made civilization take another big step forward.

The origin of primitive characters is an imitation instinct, which is used to visualize a specific thing. Although it is simple and chaotic, it already has a certain aesthetic taste. This simple writing can therefore be called prehistoric calligraphy.

Third, the Shang Dynasty to the Western Han Dynasty-calligraphy without any knowledge.

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 the handwriting of Oracle Bone Inscriptions, bronze inscriptions, stone carvings, bamboo slips and Zhu Mo. Among them, the fonts such as seal script, official script, cursive script and regular script were stereotyped in the screening and elimination of hundreds of miscellaneous characters, and the calligraphy art began to develop in an orderly manner.

(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, Fiona Fang is varied, long and flat in shape, patchwork 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. Attached to the bronze ware, the tripod was cast to "make people know God's treachery", so it was a ritual vessel for religious sacrifice. Bronze inscriptions are also called,, and ancient. The lines of inscriptions cast together with bronzes are more vigorous than those of Oracle Bone Inscriptions, and the pictographic meaning of characters is stronger. The earliest inscriptions on bronzes were found on bronzes unearthed in the middle of Shang Dynasty. Although there were few materials, they all predated 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 silk 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 of the Northern State of Jin and the Bird Book of Wu, Yue, Chu and Cai have many twists and turns and long tails. The 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 rounded aesthetic feeling, such as "a mirror that attacks a warrior and sends a bad king". This period left many ink marks, such as bamboo slips, silk books and league books.

(b) Qin dynasty calligraphy, which is 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, worm, kai, official script and official script." 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 also a great 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.

Fourth, the pursuit of rhyme-from the Eastern Han Dynasty to the Southern and Northern Dynasties

(A) Chinese calligraphy

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. One is cursive writers, represented by Du Du, Cui Yuan and Zhang Zhi, and 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.

(B) Wei, Jin, Southern and Northern Dynasties calligraphy art:

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

The Jin Dynasty advocated elegance and taste in life, and pursued the beauty of moderation and lightness in art. Many 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 is the most representative and influential calligrapher in the history of calligraphy in Wei and Jin Dynasties, 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". Critics say that his writing style is like a cloud and agile as a dragon. His son Wang Xianzhi's Ode to Luoshen is full of power, creating a "broken body" 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 "Sanxi", namely "Yuan Bo Tie", "Sunshine 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 Tour, the North People and the South Land, and the North Glory and the South Show. These are two basic differences.

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 was crowned as "the sage in the book", while the northern writer was Wang Youjun.

Fifth, seeking rules and regulations-Sui, Tang and Five Dynasties

(A) Sui Dynasty calligraphy:

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 tablet of Qifa Temple in Pinghe Ruding Road Tiger, etc.

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

3, deep and round, such as "Xin Xing Zen Master Taming" and so on

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

(2) calligraphy in the heyday of the tang dynasty:

1, 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 later generations have the saying of' heavy shelf in the prosperous Tang Dynasty', 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 unique. Zhang Xu and Huai Su pushed the performance of cursive script to the extreme with their drunkenness, Sun Caoshu was good at being elegant, and He and others also focused on creating reality. As soon as Yan Zhenqing came out, he accepted the ancient law in new ideas and gave birth to the new law outside the ancient meaning. 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. Therefore, when they left the troubled times, they all fought alone in the image of Rao Chengping, which is also the light of Tang books. On the occasion of the Five Dynasties, crazy Zen became popular, which also affected the calligraphy circle. Although "crazy Zen calligraphy" did not appear on a large scale in the Five Dynasties, 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. Wang Wenbing's seal script, Li E's regular script and Yang Ningshi's "Two Kings Yan Liu" appeared in the late Tang Dynasty.

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

(1) Sui Dynasty 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 the art of calligraphy gradually emerged from the legacy of the Six Dynasties with a new attitude. In the early Tang Dynasty, regular script was the mainstream, and its overall feature was strict and orderly structure.

(2) In the middle of the 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 Drunk" (Zhang Xu, Huai Su), 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 existed in the late Tang Dynasty and the Five Dynasties.

In 907, Zhu Quanzhong, the separatist, destroyed the Tang Dynasty and established Hou Liang, 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.

The intransitive verb advocates emotion —— From Song Dynasty to Ming Dynasty

(a) the Song Dynasty calligraphy:

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 respecting the law in the Sui, Tang and Five Dynasties is the embodiment of seeking' work', then in the Song Dynasty, calligraphy began to appear in front of the world with a new look of respecting meaning and expressing emotion. In other words, calligraphers should not only have two levels of "nature" and "hard work", but also have "learning", 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 writing 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.

(B) the Yuan Dynasty calligraphy art:

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 and deliberately seek work, so Su Shi advertised' I can't write this book' and Zhao Mengfu advocated' it's 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 the 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 the two kings, 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 his belief in 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.

(3) 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 and many images", and "Taige style" prevailed. Brother Shen helped push the stable lower case to the extreme. "All gold-plated jade books should be used by the imperial court, hidden in the secret room, and awarded as national books, and 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 letters, Song Lian who was good at seal script, and famous calligraphers. 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.

Seven, lyrical Yang Li-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 middle of the "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.

Eight, 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.