Keywords: breaking through the innovation paradigm
Calligraphy is the most intuitive form of expression of ancient and modern calligraphy works. Seal script is really popular, so is the so-called "each has its own style". Calligraphy is also a main way and means of calligraphy innovation. The aesthetic characteristics of several different calligraphy styles can be used as elements of artistic expression at the same time. Excellent calligraphers are always flexible and integrated, and their personalized calligraphy style is closely related to innovation. From this point of view, "amorphous calligraphy" can be regarded as an important principle of calligraphy creation and aesthetics, and the contradiction between shaping and breaking is a mirror for us to explore calligraphy innovation.
For a long time, calligraphers have been accustomed to narrowly understanding "broken body" as an independent style, that is, "broken body book", and think that broken body is "miscellaneous body" and "many bodies coexist in one calligraphy work"; The creation is even more misled by the "image expression style" of Japanese tattoo calligraphy in the East. Many self-styled works have become "mixed fonts", and some of them are artistically involved in the painter's paintings, which is not ancient. In this way, a powerful reputation is ruined, but in fact it has become a book of wild foxes. On the contrary, the essence of China's innovative practice and theory for thousands of years has rarely been seriously explored and utilized. This practice is not only wrong in theory, but also harmful in practice. This paper attempts to outline the development of the core theory and practice of ancient calligraphy innovation, and summarizes the paradigm and aesthetic principles of the innovation. On this basis, this paper makes a brief observation on the phenomenon of "breaking the body" innovation in current calligraphy creation, in order to provide some reference and enlightenment for calligraphy creators.
Historical Review of Innovative Style Calligraphy
Compared with fixed body or constant body, breaking body is always a key word of artistic innovation. People often say, never stand, especially calligraphy. For example, in the book theory, "Li Si, the prime minister of Qin Dynasty, broke the seal script into a small seal script", "Amethyst breaks the grass to make it right", or "changing the pen and breaking the truth into grass", etc., which shows the influence of the mutual growth and decline of the fixed body and the broken body on the book style.
The word "broken body" first appeared in Xu Hao's Lun Shu in the Tang Dynasty. The original text said: "Zhongshan is the true book, Zhang Qian is the sage of grass, the right army is the law, and the small sequence is broken." Here, this poem refers to Wang Xianzhi. Wang believes that "the ancient Zhangcao failed to be grand and easy, but now it is poor and fake, and the grass is extremely drooping, unlike the line." In the sentence, Mr. Shen once explained the word "pseudo-province": "pseudo-province refers to saving and sketching without sticking to the standard of six books." Indeed, Xiao Wang broke Cao Zhang's inherent style norms, saying that "non-line non-grass, convenient grass flow, open in the line, middle in the grass", and breaking the body is just such a style between a book and a running script. According to Xiao Wang's December Post, which Mi Fei called cursive script, the word "December" at the beginning was written in regular script, and then it was turned into cursive script, which was the result of extremely cursive script. This is the evidence of Xiao Wang's dismemberment. Although Amethyst opened a new door outside cursive script, strictly speaking, cursive script is only a creative method, not an independent style. Such as "ink?" The fourth sequel of the book clearly lists Li Xi's "broken body" as the top grade. "Book Score" said that the king "imitated grass is more real than truth, and it grows longer than truth. Although he is good at small things, he has participated in many excellent things, which can be used as a footnote to break the body, indicating that there is no essential difference between the two kings in breaking the body and innovation. The beauty of the calligraphy of the "Four Saints" is closely related to its stand and practice of breaking new ground.
In fact, the phenomenon of irregular writing in the process of writing has been widespread as early as the pre-Qin calligraphy period. We are familiar with the fact that the inscriptions in the Western Zhou Dynasty are obviously different from those in the vertical direction. Shi Guwen sometimes uses ancient Chinese characters in his articles. During the Qin and Han dynasties, a large number of official changes often blurred the boundaries between bamboo slips and silk scripts. This kind of simplified or regionalized writing has always existed in the natural evolution and use of words, but it is essentially different from the verb fracture with the purpose of beauty. "Ruizhe is flexible and ingenious." The latter is a conscious creation of calligraphers and a widely used method after the rise of literati calligraphers. From simple engraving to semi-traditional Chinese painting, only when the calligraphy style of seal script in Han dynasty is complete and the scale of calligraphy is initially set, can calligraphers incorporate the previous phenomenon of natural characters into the aesthetic level of calligraphy, and it can be regarded as a real calligraphy break.
For the era of calligraphy art consciousness, most scholars tend to set it in the late Eastern Han Dynasty, which has a causal relationship with the consciousness of literati and calligraphers to break through the body and innovate. Kang Youwei believes that "I said that books in the Han Dynasty were not prosperous, not only because of the high spirit of books, but also because the system of books was the most diverse and stronger for hundreds of generations. Du Du worked as a grass, Cai Yong as a flying white, and Liu Desheng as a running script, all of whom were Han Chinese. The end of the season comes true, and future generations can't go outside. It is extremely difficult to establish a system to the Han Dynasty. "
The variation of calligraphy in Han Dynasty cited by Kang can be completely confirmed from the perspective of the fracture of calligraphy style. Literati calligraphy in this period can be roughly divided into three schools: the seal script school represented by Cao and Cai Yong, among which Cao Shou changed the law, "being good at revealing needles" and "being less different from Si", and Cai "being good at seal script and adopting Si's method, and being complex in ancient and modern times"; The cursive schools represented by Du Cao, Cui Yuan and Zhang Zhi, among which Du Chuang Zhang Caoshu style, Cui tends to be refined, and Zhang Shengfan becomes a modern cursive style; Zhong, represented by Zhong You, is "learning from Cao and Cai, imitating learning, being self-contained, exemplary, unique and brilliant". In addition, there is Liu Desheng's minor reform method called running script.
If Cang Hao wrote a book, Cheng Miao wrote an official seal, and Li Si's seal script was somewhat political, then the rise of literati calligraphers since the end of the Han Dynasty is inseparable from their conscious creation. Before the Eastern Han Dynasty, in most cases, the replacement of seal script style was a natural style of "advocating simplicity". When people write books, the style follows the French word, which is regarded as disrespectful in formal occasions. For example, the "horse" in the book is mistaken, and they are afraid of death. After the Eastern Han Dynasty, calligraphy and calligraphy were still mutually external and internal, breaking the body for use, and Du Du replaced the history books with Cao Zhang.
During the Wei and Jin Dynasties, the trend of calligraphy reform continued, and Zhong You's variant of seal script and official script were further combined in the hands of sages and others because of gains and losses. Among them, Wei Guan "adopted Zhang's grass method, taking his father's words as a mirror, which is even more grass-like". Wang Xizhi, Wang Qia and others commented on Zhong Zhang's old system, "all changed its ancient shape" and offered "changing its system without creating its law". Ruan Yuan, a Liang in the Southern Dynasties, said, "Live in the present and look at the past, and see the wonderful doors. Although he returned to school with Wang Zuzhong, he eventually became one. " Wait a minute.
"In a word, several bodies are involved." Although this book theory named King can't come from him, it can quite represent the innovative method and consciousness of "hundreds of works are wonderful" in Wei and Jin Dynasties. It can be said that most of the aesthetic changes in ancient and modern China and foreign countries are manifested in the relationship between breaking and standing of many books.
During the Han and Jin Dynasties, the calligraphy style changed with the times. Although accomplished calligraphers are good at all kinds of styles, they can often be widely used in many styles. On the one hand, they enrich the expression of the old style, on the other hand, they also have the gains and losses of the old style. Calligraphers, represented by the four sages, are not only innovators of broken calligraphy, but also legislators of new characters. Their calligraphy personality, together with the new style characters, promoted the development and perfection of fonts, became a trend model leading the calligraphy style of later generations, and was respected as the immortal ancestor by later generations.
Since the Southern Dynasties, the broken books of the previous generation have become exquisite and ingenious, and the method of official seal script has developed in the direction of stereotyped writing. The adjacent space between the front and back calligraphy styles becomes narrower and narrower, and the distinguishing features between the styles become larger and larger. The standardization of fonts in Sui and Tang Dynasties tended to stagnate due to functional saturation. In most cases, the natural phenomenon of the coexistence of ancient and modern book styles can be divided into diachronic and functional. It is almost impossible to be good at all book styles like Wei and Jin calligraphers, and it is impossible to go in and out of ancient and modern times without opening a family. As a result, the calligraphers in the Tang Dynasty changed from being good at various styles to strictly observing the boundaries of calligraphy, specializing in one family, and there appeared such split talents as Li, Han Zemu, Yan Zhenqing, Li Yong and Huai Su. In addition, due to the influence of the imperial examination habits, the writing of broken characters began to have mandatory provisions, and norms such as "Mannuzi Book" appeared.
"True book stands, running script goes, cursive script goes". The only way to learn calligraphy in the Tang Dynasty and beyond is to learn the truth first and then break the body. However, this linear arrangement of calligraphy has artificially changed the evolution order of fonts in history and cut off the connection between regular script and seal script. Zhong Wang used a pen to describe the past, instead of the description of the head and the angle, so Su Shi thought that after Yan Liu, "the method of Wang Zhong was of little benefit."
The phenomenon that today is not ancient after the body is fixed also exists in other calligraphy styles. As Huang Song Bos said, "Bad seal cutting method makes Li Jian; The disadvantages of the grass method, Zhao Zhang Chang; Eight out of ten customs, Zhao Han chose wood. These books are not useless, but lack the source of the ancients. ..... His literary knowledge, the historical sites of the Han Dynasty, and the remains of Wang Hesuo, how much harm will it do? This can be the way to know. "
How to break through the resistance of calligrapher's style to calligraphy innovation after regular script finalization has always been the direction for calligraphers to break through after Chu and popularity, which directly led to the change of calligraphy style in the prosperous Tang Dynasty. It can be said that during the Wei and Jin Dynasties, calligraphers broke their bodies, and the change of book style was often synchronized with the evolution of book style. After the Tang dynasty, calligraphers broke through the body and sought novelty. Calligraphy styles not only evolved in their own specialized bodies, but also promoted the development of fixed bodies through the interaction between different calligraphy styles. "Books are based on the original" and "quality before writing". For the first time, Zhang Huaiguan pushed the object of calligraphy to the ancient three generations before the Han and Jin Dynasties. Earlier, Sun also put forward the method of integrating ancient and modern books: "Although seal, official script, grass and seal are versatile, economical and beautiful, each has its own advantages." He also took Cao Zhang's "Zhong Zhen" as an example to illustrate the truth that both real grass and real grass are broken: "Boying is not true, and the day is chaotic; Yuan often doesn't grass, making it turn vertically and horizontally. From then on, you can't be both good and incompetent, and you are not specialized. " Although the combination of specialization and precision is not in line with historical facts, we can reflect the change of calligraphy innovation from quantity to quality from the relationship between the beauty of regular script and cursive script, and understand the dialectical relationship between specialization and precision in Tang Dynasty.
The Book Theory signed by Wang Xizhi was actually written by Tang people, and the method of breaking cursive script was also put forward. "But if it is applied to cursive script, it will always be like its seal; Eight points, Cao Zhang, Gu Li and other bodies should be mixed, which is interesting; Take vulgar words directly and you can't send them to you casually. " It is not difficult to see that his practice of learning from the scriptures is more due to the summary and thinking of the practice of breaking books in Han and Wei Dynasties.
Judging from the practice of calligraphy in the Tang Dynasty, it is not difficult to see their desire for innovation from the time and space orientation of calligraphers in the Tang Dynasty after the Tang Dynasty.
Zhong, Wang Gai seal, Yan Gaizhong, Wang Yong seal. (Song Haojing Narrative Book)
Eight topics of "Europe and the Songs of Chu". Zhiyong, Yu Shinan and Yan turned books into pens, and they also took part in the activities of brushing seals. Huai Su Cao Can seal script ... (Guo Liang's book-telling post)
Yan's Monument to the Family Temple was written by Xiao Zhuan. Ouyang Lantai's "Daoyin Monument" includes ancient writers. (Wang Shizhen's "One Yuan Two Words")
Boying seal script is a weed, and its long history comes from the official situation. (including "Twelve Poems in the Book")
……
Although the above summary may not fully represent the reality of calligraphers at that time, in other words, the causes of calligraphers' styles in the early Tang Dynasty were complicated and somewhat inertia of the times, it should be an indisputable fact that people in the Tang Dynasty were also accommodating.
Since the Song Dynasty, calligraphy creation has generally realized the phenomenon of short circuit between the legal system of the Tang Dynasty and the ancient seal script. Under the influence of the philosophical concept of "one reason and one difference", the creative concept of integration is more deeply rooted in people's hearts. Cai Xiang publicly put forward that "seal, official script, official script, grass and communication are one law." Su Shi extended this theory to Cai's theory in the postscript of Mo Shu: "If things are reasonable and clear, it is inappropriate." The decline of medicine is also due to the division of medicine. Painting while occupying color is also shoddy. Harmony and slow medicine, I don't know the paintings of young and old, Cao and Wu Zhi, but I don't choose anyone. It is possible to say that time is long, but it is impossible to say yes. The painting of the world is not an official, not as good as grass, and I hardly understand its meaning. "
In creation, Dongpo's regular script "turned into Li", thus realizing his dilemma that "real books are difficult to fly and cursive scripts are difficult to be solemn". Unlike Su Shi, Huang Tingjian was almost the first person to break through the boundaries between ancient and modern calligraphy in practice. In his view, cursive script "is in harmony with the method of seal script of Ke Dou", "I tasted the seal script of stone carvings in the Han Dynasty and got the method of folio" and "Shi Guwen's brushwork, such as Zhang Gui TEDA, can't be imitated by future generations. If you are familiar with this book, you can get the cursive writing. " In the past, the evaluation of Huang calligraphy was "eight points in ancient seal script, no separation from official script, no regular script, no preparation". Indeed, yellow calligraphy often has the meaning of seal. Kang Youwei's running script is called "running script", and we can also call cursive script "cursive script". In Song Sijia, although Mi Fei also praised Yan Xingshu's "Qi in seal characters and strokes", his calligraphy eventually belonged to Wei and Jin Dynasties, and he absorbed the method of breaking grass and cursive script.
Under the influence of the style of respecting books, it was too late for Song people to fully practice ancient methods in the present style, but their theoretical foresight triggered the retro style of calligraphy in Yuan Dynasty, paving the way for the reform of style. The retro calligraphy style headed by Zhao Mengfu returned from the book Zhong Wang to the Han and Pre-Qin Dynasties, and many calligraphers were also good at seal script and even seal script. However, Chen Xiangyin did not develop, and it was not until Cao Zhang became the upstart of Han and Jin Dynasties that he became the main resource of cursive innovation. Ziang continued to follow the style of writing in the Jin Dynasty and the style of breaking with the two kings. The top of Kanglizi Mountain changed from the vertical direction of the previous text to the horizontal direction of Cao Zhang, which suddenly increased Gu Zhuo's interest. Yang Weizhen directly combined Cao Zhang's brushwork with pointillism, cursive script and even weeds, and pointillism was messy and crazy. At the end of Yuan Dynasty, Song Ke, Cao Zhang and Cao Zhang in Wei and Jin Dynasties were a mixture of Cao Zhang and Cao Zhang.
Although the overall revival of official script began in Yuan Dynasty, it was Zhao Huanguang and Song Jue in Ming Dynasty who really made creative contributions to these two styles. Zhao Fa's Tianfa Shenyu Monument and his own Caozhuan written in cursive script, Songshi used Xiacheng Monument for reference, and incorporated seal cutting into official script, which had an impact on the innovative calligraphy of official script in Qing Dynasty.
Since the late Ming Dynasty, due to the development of epigraphy and the academic prosperity of primary schools, it has become a common practice for calligraphers to worship books, learn Taoism, follow the literature and change the past. "Learn seal script first and then learn cursive script" completely refreshes the concept that learning books before Song and Yuan Dynasties must start with regular script and then learn cursive script. Known as a sage, even the law is not qualified. For example, Wang Duo thinks: "Giving is just a beautiful gesture, and you don't know the past, and you don't know how to learn." For the sake of ancient meaning, he sometimes consciously incorporated ancient prose variants into cursive scripts for new changes. Fu Shan is worse than Wang. For example, in his miscellaneous books and volumes, ancient prose, ancient prose and ancient prose are all written in them, and the structure of writing is often broken and added or subtracted at will, resulting in the phenomenon of "neither donkey nor horse"
The restoration of seal script is the pioneer of stele study movement. Traditional calligraphers adhere to the ancient laws of Qin and Han dynasties, and innovators turn their attention to breaking the ancient style, breaking the ancient style with the ancient style, breaking the ancient style with the present style, and breaking the ancient style with grass has become a fad. In terms of official script, Zheng Zhi writes official script with cursive brushwork, with smooth strokes, which injects fresh brushwork into the simple official script. Jin Nong followed Li's example, and he also walked on the grass. Yi Bingshou sealed the pen, sketched Li, and so on. As far as seal script is concerned, Yang Facao's seal script is similar to Zhao Huanguang's and similar to Han Miao's. Deng used official script to write seal script, which increased the number of strokes, enhanced the meaning of writing and guided the Qing Dynasty to use seal script first. Zhao's seal script is written, Wu Changshuo writes stone drums with a line pen, and so on; In addition, Zheng Xie Zhuanli's "six parts and half parts", which is a combination of original calligraphy and weeds, is also valued by the world, and all of them show their innovative spirit of learning from the past and opening up the present.
At the same time, some brushwork and aesthetic characteristics of seal script have penetrated into running script. The reason why the study of steles in Qing Dynasty respected steles over Tang Dynasty was to make preparations for Wei and Bao Nan, in order to trace the origin, get rid of the inertia and explore innovative resources that can be used for reference in different calligraphy styles. For example, Deng, Zhao and Zhang all merged into regular script with the characteristics of official script and Weibei, which opened another door outside. This is another way to break regular script besides the Song Dynasty.
In a sense, the study of steles is tantamount to a hurricane movement. However, some people mistakenly regard the book body as a spare part that can be disassembled freely, and increase or decrease it at will. Many people are interested in innovation, but have no intention of making "raw rice" and sewing "patchwork clothes". This trend has spread to modern times, so that the modernist fragmented books are faked to remove their dross, which to some extent covers up the essence and essence of fragmented innovation.
Paradigm and principle of breaking the body
There is a kinetic energy theorem in physics, which describes that an object has kinetic energy E 1 at a certain moment and kinetic energy E2 at another moment, so the difference between these two kinetic energies is equal to the final work that the outside world acts on the object. Similarly, the history of calligraphy innovation is the movement and change from one system style to another. Whenever a new object develops into a fixed object, it is necessary to find a new variable from outside the fixed object as its driving force. It is the change of the original fixed body that produces a new body. Only in this way can calligraphy keep innovating and advancing.
The "style" of "fixed style" and "broken style" can be called "style", "font", "shape", "style" and so on. Style can refer to different calligraphy styles or fonts, or to the styles of different calligraphers existing in the same calligraphy style.
Breaking the body is mainly the change of related stereotypes and calligrapher's style directly related to these stereotypes after the formation of the concept of calligraphy style. Although Cai Wenji's statement that his father "cut eight points and cut eight points, cut two points and cut eight points" to create an eight-point book is not credible, it is very appropriate to use book style as a genre element to melt and cast a family's body. In book theory, the words "profit and loss", "increase loss", "addition and subtraction", "split judgment" and "joint judgment" are mostly combinations of different book styles and characteristics.
On the whole, the broken body based on the characteristics of calligraphy includes three aspects: broken characters, broken shapes and broken pens.
Layout refers to the structure of fonts, the structure of six books and the arrangement of strokes and radicals. It is the product of the development of fonts. Each language has its own social style and norms at different stages of development, such as Shuowen, and even some mandatory regulations. The imperial examinations in Qing dynasty were critical and partial, and those who did not conform to regular script were rejected. Compared with regular script, cursive script is far from practical. Although there are supermodels and models, it has never been stipulated that scripts must be written together, which is not contradictory to standard scripts.
There are two ways to break characters. First, according to the requirements of the bookstore, calligraphers simplify or add complexity to the characters' shapes, such as "reducing complexity", "continuing to supplement sparse" and "supplementing dense potential without supplementing sparse potential", which reflects the aesthetic transformation of characters through breaking the style. The abnormal phenomenon caused by calligraphy is often called "paste", which mostly permeates the calligrapher's creation.
On the other hand, faced with the huge aggregation system of irregular variant characters naturally formed in the process of writing evolution and use, calligraphers can choose from different variant characters in the same time plane, or they can transform different fonts that have lasted for a long time, such as official script or official script, and integrate them into their own books in order to change the structure. For example, in the calligraphy of Wang Duo's Confessions Poetry, the words "Gui" and "Wan" are written in official script. (Figure 1) Another example is Wu Changshuo's couplets of "The Barren Mountain", in which the font of seal script is used in three or four places, which makes Gu Zhuo come alive. (Figure 2) It should be noted that the font structure is not an isolated writing phenomenon, it is often consistent with the overall style of the work, and eventually it will be integrated through brushwork, mainly due to archaic disobedience.
After the rise of stele study, people are very interested in the "new theory and abnormal state" of North stele. Of course, there are also "abnormal" factors caused by inscriptions.
The disfigurement method is in terms of the shape of the book. Specifically, it refers to the outline of characters, the direction of pointillism posture, the movement and connection of strokes, the texture of lines and the speed of writing. Different from the static font structure, the form of the book is directly related to the potential use of the pen, and it is a dynamic factor closely related to the brushwork and style. For example, the difference between official script and regular script is expressed by the brushwork of calligraphy form. In the long-term development process, each calligraphy style will form its own unique aesthetic characteristics and expression techniques, and most calligraphy styles are aimed at these factors.
As mentioned above, by the Han Dynasty, there were all kinds of calligraphy and cursive scripts, although cursive scripts were still in the development stage. The sense of aesthetic order accumulated by these mature books provides convenience for breaking the style. Therefore, from the end of the Han Dynasty to the Wei and Jin Dynasties, literati calligraphers made use of the advantages of being good at both ancient and modern times, intensively studied the trend, and quickly completed the evolution of regular script and cursive script. Among them, Wang Xianzhi's broken script is a model of the combination of times style and personal style, which combines natural and personal factors, and is the first normal form of broken style in ancient and modern times.
"Amethyst can't be single-minded, or mixed with cursive script", and Wang also won the name of calligrapher because of "mixed with cursive script". It can be seen that mixing with cursive script is a remarkable feature of Erwang's calligraphy. For example, in Xiao Wang's Xiangguotie, the weeds in the middle of the running script changed from the ninth line to the cursive running script, and then the last two lines were completely cursive, and the style of the front and back changed greatly. Twenty-nine Posts (Figure 3) are mostly epistolary, but the words "He Ru" and "Re-offer" are completely cursive. It is also common for Jin people, such as kings, to break their bodies in cursive script.
The broken body represented by the two kings, based on running script, hovers between regular script and cursive script, and can freely enter and leave each other's fixed body. When approaching regular script, we should reduce its cursive degree and not write vertically, otherwise we should weaken its regular script components to unify the overall style. In the Tang Dynasty, regular script was completely different from running script, with obvious stippling characteristics. Breaking regular script with different lines has become a new method after breaking books. For example, Su Shi changed from running script to regular script in Song Dynasty, which was the destruction of the eight laws of regular script in Tang Dynasty. Since then, it has spread from Zhao Mengfu in Yuan Dynasty to Dong Qichang in Ming Dynasty to Zhang Zhao and Liu Yong in Qing Dynasty.
Erwang Chiyu's original cursive script is mixed with cursive script, which is easy to understand, cursive script is easy to read, and regular script is handed down from generation to generation, which has a far-reaching influence on later generations. Among them, the more famous works are: Lu Jianzhi's "Wen Fu", which is decorated with cursive script; Yan Zhenqing's "General Pei's Post" (Figure 4) This post has words such as original, cursive and official script. Dong Qichang said "This post should be the most important" in the Handed down Book of Lu Gong, and Wang Jinyun said "If a book is also cursive, if the seal script is excellent, the rest will be titled" Lu Gong's first wonder ". Mi Songfei's "Snow Tolerance Post" (Figure 5) is a typical method for Xiao Wang to break his body. The grass moves forward and the grass moves halfway, and the dynamic and static rhythms are obviously compared.
The two kings' broken bodies had a new development in the Yuan Dynasty. Due to the popularity of Cao Zhang, some calligraphers joined Cao Zhang's style in Wei and Jin Dynasties and became a new cursive style. Its representative is Yang Weizhen (Figure 6), whose cursive script was taken by the two kings, and he broke his body and rubbed Cao Zhang's brushwork in this grass. In the early Ming Dynasty, Song Ke tried to merge Cao Zhang with Qihang, but he could not reconcile their physical differences, such as the separation of water and oil. (Figure 7)
After the two kings, the form of calligraphy has completely become the evolutionary history of different calligraphers' styles under the fixed body, and the broken body has also changed the plane combination relationship in Wei and Jin Dynasties, completely becoming a diachronic body aggregation relationship, so the order of calligraphy has been completely disrupted, showing considerable arbitrariness, and the broken body is naturally different. Its concrete example is:
First of all, these two seals are mixed. Big seal script is also called seal script, and together with small seal script, it is called seal script or seal script. Formally, the big seal is picturesque, the Qin seal is slender, neat and symmetrical, and the Han seal is influenced by official script. In the creation of seal script in Qing Dynasty, the characteristics of seal script structure in different periods were generally noticed, and the shape and some strokes of seal script were appropriately reformed, or the natural shape of seal script was defined by small seal script, or it was carved by large seal script, or the Han seal script was changed into flat seal script, which changed alternately. For example, Yang Yisun's Xiao Zhuan is close to Hanjin and far from Zhong Ding and Shigu; (Figure 8) Biography of Wu Dazhi, often referring to ancient essays; Wu Changshuo's Xiao Zhuan obviously transformed the future structure of Shi Guwen, and participated in the bi-weekly situation of the Qin and Han Dynasties. Because they are proficient in ancient primary schools in China, and some of them are philologists themselves, most people have a good reason to crack seal script.
The second is miscellaneous printing. Judging from the development of calligraphy, the official seal characters are mixed during the period of official system reform, showing a transitional style. However, when seal script has become a fixed style and parted ways with seal script, the re-emergence of the phenomenon of the combination of seal script and seal script is likely related to the writer's awareness of breaking the body. For example, at the beginning of the Yuan Dynasty in the fourth year of the Eastern Han Dynasty (1 17), the inscription on the tablet of Sangong Mountain was mainly seal script, but it was also mixed with some official script glyphs and square strokes, so it can be said that it is changing from today to now. However, Xia Chengbei (170) written in Jianning three years in the Eastern Han Dynasty is an official script, but it is also out of the consciousness of seeking change.
Breaking the official script of seal script means that the font of seal script is introduced into official script, and then it is matched in form through official script or official script, which is very common in official script of Qing Dynasty. For example, there are thousands of words in Fu Shan official script, most of which are written from ancient Chinese characters and official script. (Figure 9) In Yang Fa, whether it is seal script or official script, most of them are miscellaneous, and it is often difficult to distinguish fonts and strokes from each other. (Figure 10)
The third is a mixture of ancient and modern. "The residence of Zhuanli Primary School is the residence of Cao Li scholars." After the Northern and Southern Dynasties, various styles merged, forming a pattern that Zhuanli (including Cao Zhang, the official script) is ancient and regular script grass is modern. At that time, in some inscriptions and epitaphs from the Northern Dynasties to the Sui Dynasty in the Sixteen Countries, ancient and modern mixed bodies were common. Some flat fonts are backward, some are old-fashioned and unable to cope with the replacement of dynasties, and some are interested in innovation. For example, in the Western Wei Dynasty (A.D. 546), Du Zhaoxian made a statue, the font was between Li and Kai, and there were also seal and cursive brushwork. The Monument to Cao Zhi Temple in Sui Dynasty (593) (Figure 1 1) is a regular script in general, with individual glyphs, seal script or regular script, and even in a word, seal script, regular script and regular script are radical radicals, which is really the epitome of ancient and modern calligraphy styles.
When the study of steles was in its infancy in the Qing Dynasty, this phenomenon of mixing ancient and modern times went on for a period of time under the trend of seeking change. Some calligraphers, regardless of the distance between ancient and modern times, want to add and subtract books to complete their creation. Fu Shan and others followed, and Zheng Banqiao helped him. In the process of the cursive script movement of the two kings, Zheng put seal script into it, calling himself "six and a half books" of seal script, official script, truth, line and grass. (Figure 12) Later, Chen Jieqi also used official script to enter seal script, and often mixed official script with seal script. Similarly, official script has also been included in regular script, and the font is difficult to understand with a pen. (Photo 13) Li Ruiqing even has a history of writing. He often divides several tablets into words, sometimes called "patchwork".
There have been two schools of thought about the innovative significance of this kind of essays represented by Zheng Xie: those who praised him thought that his book was unique, that he had many wonderful advantages, and that he was "littering the streets", while those who criticized him said that he was "a person who wanted to change but didn't know how to change". Why are the two books "miscellaneous" and "amethyst can't be pure, or miscellaneous", and future generations don't say anything, while Zheng Banqiao's "6: 30" will have mixed advantages and disadvantages?
As we know, book hybridity is a natural phenomenon formed by the interaction between adjacent or similar books in the process of writing development, which is common in books before amorphous. Take official script as an example. The ancient Chinese characters were corrected by seal script, such as Mawangdui silk script in Qin and Han Dynasties, and the strokes were decomposed in an orderly way, which has seen the beginning of official script, but the seal script structure is still preserved; During the Han Li period, the shape was broad and flat, forming a typical eight-character trend. However, at this stage, the official script has been corrected wrongly, and it should be closer to the current script, so sometimes there will be a naming phenomenon of one monument and two bodies, such as the Three Kingdoms Gulang Monument. As for the formal publishing stage, there are still some early ones with only inheritance. Kang Youwei's Guangyi Ship? Compare the evolution of Li Fen to the process of parallel prose becoming an independent adult without prose. At the beginning, the division of parallel prose, such as prose and parallel prose, will meet at the same time, but it will be true if it is combined with the original. As the ultimate body of parallel prose, the division of parallel prose at this time has changed several times and cannot be combined. Hu put the wind into a fixed institution, and its original relationship no longer exists. Therefore, in the Song Dynasty, the cloud said, "The big seal script is not allowed to enter the small seal script, and the official script (regular script) is most afraid of entering eight points." "It is also said that" Xiao Zhuan's style is mixed, and Li's style is also mixed. Or biography mixed with raiders, also as ancient prose. " It can be seen that there are certain restrictions on the method of breaking the style of simplified books.
In view of this, we put forward a principle of ancient hybridization: adjacency principle and similarity principle. In the evolution of calligraphy, the styles of calligraphy are intertwined, the forms naturally overlap, the brushwork blends, and new ideas and attitudes change endlessly. This is not only a natural phenomenon in the evolution of calligraphy, but also an important reference system for calligraphers to break the style. Xi said in the Qing Dynasty: "Ancient and modern calligraphy has changed from top to bottom, and will change from lack of perspective, which is the most impressive. The monument of Han and Tang dynasties, but the face of Han and Tang dynasties is the most impressive, and Gai Han will become Tang Dynasty. It is full of different places. "This passage just explains why the broken body often gets rid of the mature and fixed personal style and returns to the original state when the book is undecided. In the above paradigm, the cursive alphabet represented by the two kings has a great influence because their tattoos are in such an intermediate state, so they appear natural and harmonious, which has both the symbolic significance of regular script in Wei and Jin Dynasties and the beauty of today's style. However, if the weeds of the Tang Dynasty are added to the broken bodies of the two kings, they are all cursive in name, but the differences in form change too much, and it is difficult to break the bodies in the end. In Song Dynasty, Gong Li chose to learn cursive script, but what he couldn't do was to use cursive script, which was called "Parrot Jiao" at that time, which explained the adjacency similarity principle of cursive script from the opposite side.
The style of Banqiao is a mixture of ancient and modern. Although he has made some adjustments to different styles of books, he still has his own functional characteristics. Unlike styles of books, it is "the grass has withered", and the beauty of many books is difficult to really reflect. Its value and significance can only be summarized by "non-one non-two".
Compared with the limitations of miscellaneous pens, the blending space between brushwork is often much more free. In other words, focusing on the physical characteristics of the book style, the book style has the diachronic characteristics of time, and each book has a fixed style and cannot be confused; However, from the perspective of using a pen, "it is not easy to use a pen through the ages" and "the book has no fixed form". Guang Yun, Zhao Huan "takes seal script as true grass, takes true grass as seal script, even takes characters as paintings, and takes paintings as mountains and rivers, so there are differences." That is, pay attention to the freedom and interoperability of brushwork between different calligraphy styles. In Zhu Luzhen's words, "Fu Shu is multifaceted, but if you use a pen, you can refer to the meaning of the pen, but the form should not be messy."
Books are uncertain,