The Illustrious Tag In The Song Dynasty Calligraphy Research

At present,it is almost a blank spot to deeply study lots of engraving calligrahy in the carved ancient works in thecalligraphy research field. Based on the first-hand information,by browsing, collating and generalizing more than fourhundreds of ancient books of Song dynasty and related illustrated catalogue of Chinese Reforged Rare Book, with theexisting research achievement and relevant documents, for the first time, this article makes a relatively comprehensiveresearch in the engraved calligraphy style,scribes and type cutters,etc of Song dynasty to summerize the development rule ofthe engraved calligraphy of Song dynasty and its effect. It not only extends the reaserch field of Song dynasty calligraphy,but also provides some unprecedented reliable basis for the edition identification, thereinto,it is an innovations to employ thefeature of cutting way to distinguish the Hangzhou engraved version of the early and late Sourthern Song Dynasty. It is notonly easy to operate,but also accurate and efficient.The main research results:The Song Dynasty engraved regular script, Chongou of Liang Zheng area, Changyan of Sichuan, Both Yan and Liu ofFujian. The style of Jianghuai HuGuang area is not shown. From the Northern Song Dynasty to the Early Sourthern SongDynasty, following the tradition of the Five Dynasties, people regards the imitation of maestro’s regular script of Tangdynasty as ability. The Middle of it, regional style gradually reveals. To the Late, it mostly gets rigid. The cutting method isthe important performance of the engraved calligrahpy style. It is the common rules, from the round to the square and angled,that the cutting way of every region follows.In the Early Southern Song dyansty,the end of the horizonal stroke of carvedregular calligraphy in Liang Zheng area hardly apperars right angled triangles,but in the Late,the right angled triangles werefound a lot.The engraved running script of Song dynasty saves a large amount of famous calligraphers and scholars’s exquisitescripts with the engraving feature and regional characteristics. It is same as the regular script change of Song dynasty’sengraving seal script and clerical script,which is also related with the cutting method of the type cutters.The mainstream carved scribes of Tang dynasty, Five dynasties, Southern and Northern Song dynasty experienced thedevelopment history from the folk scribes to the well-known calligraphers, and then to the civil ones again. In the Late ofSouthern Song Dynasty, only few of well-known calligraphers participated in writing of the general books. The cuttingmethod of the type cutters kept relatively stabile at that time. Their daily quantity of the lettering words during SouthernSong dynasty is at least one hundred and a few. In addition, the role of the printer can not be ignored.The evolution of the Song dynasty carved calligraphy is actually the process of weakening the personality traits of theregular script of Ou, Yan and Liu, and looking for their common characteristics. At the same time, it is also the course ofartistry to reduce gradually. The influence of Song Dynasty carved calligraphy is extensive and profound.Song typeface ofthe mid-Ming Dynasty is the product of cover engraved of Song edition books in large quantities.Combining the engraved calligraphy style, its tpype cutters and other factors, this article correct or solve the problem ofversion identification of the Song Dynasty acient books, such as the Jigu Pavilion’s acient collection Long Kan Shou Jian,Taiwan Palace Museum in possession of Da Ji Pi Yu Wang Jing and Yuan Bao Jing Zhuan in Shanghai Library.