Chapter 26 Section 3 Book Theory

Calligraphy includes the elaboration of the principles of calligraphy and the evaluation of calligraphy. Part of its content overlaps with techniques and theories of calligraphy history, but the focus is different.Calligraphy theory focuses on revealing general laws, judging the pros and cons of ancient calligraphers' works, and analyzing their academic origins and gains and losses; etc.) have greatly enriched the ideological treasure house of art theory in our country.Arranging these works in historical order, we can see the in-depth process of the ancients' understanding of these laws:

"Non-cursive script", written by Zhao Yi in the Eastern Han Dynasty.Advocating emphasis on Confucian classics, criticizing some literati at that time who were obsessed with calligraphy, but they did not follow the law, so they did not have much artistic achievement.But not against the art of calligraphy.On the contrary, a valuable proposition is put forward: "The book is so ugly, but it is better if it is in the heart and hand." It is quite thought-provoking.The value of this book is quite reliable. "Bi Lun" and "Nine Potentials" were written by Cai Yong in the Eastern Han Dynasty.The former proposes the mental state that should be possessed when writing, and the shape must conform to the laws of objective things and express the author's psychological state.The latter put forward an important principle in calligraphy, that is, to pay attention to the style of writing, thinking that calligraphy comes from nature, and nature creates form, and form depends on the use of brushes.In addition, some principles of stippling writing and shape creation are also pointed out.

"Si Ti Shu Shi", written by Wei Heng in the Western Jin Dynasty.The so-called four body refers to: ancient script, seal script, official script, and cursive script.Some important historical materials in the development of fonts are preserved in this article, among which Cui Yuan's "Cao Shi" quoted is the earliest surviving text describing the characteristics of calligraphy art. "Bi Zhen Tu" is said to have been written by Wei Shuo in the Eastern Jin Dynasty.Wei Shuo is the daughter-in-law of Wei Heng, known as Mrs. Wei in the world, and the teacher of Wang Xizhi.This article talks about the important issues of creation and appreciation, which is quite insightful, especially the aesthetic requirements of the seven brushwork techniques, which have a great influence on later generations.However, it is suspected that this book was falsely entrusted by later generations, not written by Wei Shi.

"After Ti Wei's "Brush Array Picture"" and "Twelve Chapters on Brush Gestures" are passed down as Wang Xizhi's works.While unreliable, some of these claims make sense. "On Shu Biao", written by Liu Song Yuhe.Together with Chao Shangzhi, Xu Xixiu, and Sun Fengbo, Yu He and Fengchi sorted out the writings of Zhang Zhi, Zhong Yao, Wang Xizhi, Wang Xianzhi, etc., recorded and commented on them, and gave a fair evaluation of their status in the history of books. "Praise of Brushwork", written by Wang Sengqian of the Southern Qi Dynasty.Clearly put forward the profound argument that "the wonderful way of calligraphy is the most important, and the shape and quality are second, and those who have both can be better than the ancients", which has a profound influence on the calligraphy art of later generations.

"The Twelve Ideas of Guan Zhongyou's Calligraphy" and "Comments on the Good and Bad of Ancient and Modern Calligraphy", written by Liang Xiaoyan.The former made a profound analysis of Zhong Yao's brushwork and composition, and pointed out the comment that "Zi Jing is not as good as Yi Shao, and Yi Yi is not as good as Yuan Chang", which had an impact at that time and later generations.The latter commented on all 32 famous calligraphers.The comment on Wang Xizhi is: the word is majestic, like a dragon jumping over the gate of heaven, and a tiger crouching on the phoenix.Since this theory came out, it became a fair assessment of Wang Xizhi.

"Shu Pin", written by Liang Yu [yu Yu] Jianwu.This article divides the 123 people from the Han Dynasty to Liang Nengkai and Cao Zhe into upper above, upper middle, upper lower, middle upper, middle middle, middle lower, lower upper, lower middle, lower lower, A total of nine grades.Each product has certain comments, creating the style of discussing books by product. "The Biography of Wang Xizhi", written by Tang Taizong Li Shimin.This is a tribute written by Li Shimin for "Book of Jin·Wang Xizhi Biography".He has a little criticism for other calligraphers, but he thinks that Wang Shu is impeccable and has reached perfection.This played an important role in the rise of Wang Shu.

"Shu Pu", or "Shu Pu Preface", was written by Tang Sun Guoting.His cursive handwriting has been handed down from generation to generation, which is an excellent model for today's grass.The article involves a wide range of topics, discusses subtle and profound, and deeply understands the essence of calligraphy.Although it looks like a preface, but this treatise has not been seen, but this alone is enough to be a grand theory. "Shu Hou Pin" or "Hou Shu Pin", written by Tang Li Sizhen.Because it is different from Yu Jianwu's "Shu Pin", the word "hou" is added.On top of the nine grades of "Shu Pin", there is another "Yi Pin" listed, and many calligraphers from the early Tang Dynasty are also listed in it. In fact, the two books can be combined into one.

"Shu Yi" and "Shu Duan" were written by Tang Zhang Huaiguan.The former commented on the grades of Kai, Xing, Zhangcao, and Jincao, and also discussed the practices of each style.The latter records are all ancient calligraphy styles and the names of people who can write, each describing its origin and development, the records are quite detailed, and the comments issued can also be fair.The many propositions sublimated by the comments are deeply explored [ze responsibility], very insightful, and can also be called a classic. "Haiyue Famous Sayings", written by Song Mifu.It is compiled and compiled by later generations from some of Mi Fu's daily treatises.Among them, the exposition is inherently harsh, but it is more of his unique insights, which also reflects the requirements of the Song Dynasty for the charm of calligraphy, which has a great influence on later generations of scholars.

"Continued Book Break", written by Song Zhu Changwen.After continuing Zhang Huaiguan's "Shu Duan", calligraphers from Tang and Song Dynasties were collected, and they were listed as upper, middle and lower grades, and appropriate evaluations were made. "Continued Books", written by Song Jiangkui.The continuation of Sun Guoting's "Book of Books" also reflects some views of the Song people on calligraphy from many aspects.On the whole, it is not as deep as "Shupu", but it has distinct characteristics of the times. "Lanting Preface Thirteen Postscripts", Yuan Zhao Mengfu wrote.Meng Fu is a versatile calligrapher, but he has not written a monograph on calligraphy, and many views are reflected in this "postscript".Among them, "Calligraphy is based on the use of the brush, and hard work is also required to form the characters. Gaijie characters are passed down from time to time, and it is not easy to use the brush through the ages." This view has a great influence on later generations.

"Calligraphy Elegant Words", written by Ming Xiangmu.This is a well-known book with clear system and coherence.The argument may not be complete, but the theoretical system is relatively complete. "Painting Zen Room Essays" is a fragment of Dong Qichang's treatises of the Ming Dynasty compiled by Yang Wubu of the Qing Dynasty. It is called Essays because it is a collection.Dong Qichang's calligraphy and painting theory had a great influence on the early Qing Dynasty, and by following this, we can understand the whole story by looking at the situation of the calligraphy world in the early Qing Dynasty.

"North and Southern Calligraphy", "Northern Monument and Southern Calligraphy", written by Ruan Yuan in Qing Dynasty.During the Qianjia period in the Qing Dynasty, with the development of epigraphy and textual research, he began to realize that the style of calligraphy was becoming weaker and weaker, and turned to the exploration of ancient inscriptions.Ruan put forward the argument that "short notes and long scrolls, free and unrestrained, will make the posts good at their strengths; if the boundaries are strict and the scriptures are profound, then the steles will win according to their strengths", and then divide the steles and posts into two categories. It is in line with historical facts, but it also shows the requirements of the times for the development of calligraphy style, so there are quite a few followers, and it has become the theoretical forerunner of the later Yitie Yang stele. "Shuangyi Boat", written by Bao Shichen of Qing Dynasty.It is not only a thesis, but also a book, so it is called "Shuangji".He advocated the stele and took Deng Shiru as the specimen of the stele.He pays attention to the brushwork and regards it as the difference between good and bad.The argument is subtle and profound, quite persuasive, so it has a great influence. "Art Overview", written by Liu Xi of the Qing Dynasty.The discussion is very broad, including essays, poems, Fu, music, scriptures and calligraphy.Among them, the discussion of "General Calligraphy" is concise (gaigai), and the essence and purpose of calligraphy are well explained, which is highly valued by scholars of calligraphy. "Guangyi Boat Double Oar", written by Kang Youwei.Zeng Guang wrote "Yi Zhou Shuang Ji", hence the name, but it only discusses books, not literature.The scope of the discussion is very wide, and the core proposition is that the stele has been pushed to the extreme of calligraphy. It is biased, but it has a great influence. The above are some works focusing on monographs, and many famous quotes are interspersed in other works. For example, some calligraphy and essays written by Su Dongpo and Huang Tingjian in the Song Dynasty are collected in their anthologies.Although there are some fragments, they are all extremely valuable. They are the summary of their artistic practice, and should not be ignored in study and research.In addition, there are also some comprehensive series of books on books. Although they are not monographs by one author, they can bring together various books and theories, which is undoubtedly of great benefit to readers.Attached below: "Fa Shu Yao Lu", compiled by Tang Zhang Yanyuan.This is a collection of books and theories of various families in the past dynasties, and there are quite a lot of collections [zhi], and even some books that have been lost still have their titles.At the end, there is also a commentary on Erwang's calligraphy, which is very precious. "Mochi Bian", compiled by Song Zhu Changwen, 20 volumes.Incorporating the essence of "Fashu Yaolu", the collection is more extensive.It is divided into eight categories: calligraphy, brushwork, miscellaneous discussions, pinzao, praise, treasures, inscriptions, and utensils.Notes are added at the end of the volume and the capital of each chapter, and the comments are very precise. "Shuyuan Essence", compiled by Song Chensi, 20 volumes.It is another collection of calligraphy after "Mochi Bian". "Wang's Shuyuan" was compiled by Ming Wang Shizhen; "Shuyuan Buyi" was compiled by Ming Zhan Jingfeng.The former collects five kinds of books, and the latter collects nine kinds.There are different collection styles, and some of them belong to other categories, which will be introduced in the next section. The scholars of the sages have indeed done a lot of collection and compilation work for our study, which is the great contribution of Zebei's descendants.