| The period from the late Northern and Southern Dynasties to the Zhenguan period in the early Tang Dynasty is a key stage in the evolution of calligraphy history.Finally,the two styles of calligraphy were unified into"Tang law".However,it is worth studying on the essence of Tang law,its formation principle and the nature of the unity of the north and South style.Since the political and religious system of Qin and Han Dynasties stipulated the hierarchy of different types of books,there have been two development directions of "public standard" and "self dispatch" in the writing mode,and there is a complex separation relationship between them.After Cao Wei’s ban on stele,Zhang Chengshu and Xingyang books began to flourish in their more self-interest writing mode.In the period of the north and South Dynasties,the south basically marched on the road of "self dispatch",and took Wang Xianzhi as the ultimate representative,and even had strange changes combining Taoism talisman and other bodies.In the late Southern Dynasty,there was a relatively mild trend of retro-antiquity.In the Northern Dynasty,xiaowendi followed the reform of the Southern Dynasty as a boundary,and was still within the framework of "public norms" since Han and Wei dynasties in the early period,while in the later period,he first absorbed the style of Wang Xians and the style of ancient restoration in the later period of the Southern Dynasty.However,no matter which kind of book style in the South Dynasty is absorbed,it only takes its "body" and"shape",and its God,its inner temperament,and even its functional nature are still the product of the traditional political and religious system in the north.This is because the political and religious culture of the Eastern Jin and Southern Dynasties is "the outer Confucianism and the inner metaphysics",which points to the individualized and social centrifugal force,while the Northern Dynasty is "the external Confucianism internal law",which has been consistent with the Cao Wei Dynasty in Qin and Han Dynasties,and has a more orderly and strict atmosphere.The study of"controlling the form by God" in the later period of the Northern Dynasty was the first sound of the unification of the north and South style of the book from Sui Dynasty to the early Tang Dynasty.There was a brief revival of Confucianism in Sui Dynasty,and the integration of North and South in calligraphy was more enhanced,while the font on Sui stele developed to a more public standard,with the achievement of the combination of North and south.But the process was interrupted by the emperor Yang’s abandoning the north and throwing south.The Tang Taizong had a systematic strategy of reviving Confucianism,and a clear cultural and artistic spirit of "north to South".His opposition to Wang Xianzhi’s style of books is just showing his reservation attitude towards the southern style.But he did not return to Han and Wei dynasties,but marked Wang Xizhi as "the Book Saint".The South Dynasty also cited several people as "Book saints",but they all looked from the perspective of "pure art".In the Tang Dynasty,Taizong was not,and there were distinct Confucian political and religious colors and orderly colors in the construction of Wang Xizhi’s identity of "Book Saint".At the same time,Wang Xizhi’s calligraphy font has obtained the formal qualification of "Ming Shi Shu".In this case,although the shape of the Tang law is still originated from Wang Xizhi,it is inevitable that the spirit and temperament and some calligraphy forms are new things of Tang people“ Tang law has had a great influence after its formation,which has both positive influence and the reactionary action of calligraphers in different historical stages.If the "self dispatch writing" mode of Wei Jin model is the inherent tradition of cursive writing before Tang Dynasty,the "public model writing" mode of cursive script opened in Tang Dynasty is a new tradition,and the latter has formed an effective cover for the former in the past thousand years.The significance of the process of the calligraphy history from the late Northern and Southern Dynasties to the Tang Taizong period is to expose the veil of Tang law and explore the original appearance of the spirit of Jin people.Second,we can understand the advantages and disadvantages of Tang law better.The third provides a kind of viewing angle for the evolution of calligraphy history from the north and South Dynasties to the Tang Taizong period,and even from the Tang Dynasty to the Ming and Qing Dynasties.In addition,we can try to correct the one-sided points of the theory of "North South School of calligraphy" since Qing Dynasty and review the famous proposition of calligraphy history today,thanks to the convenience of obtaining materials. |
