| After the collapse of the Northern Wei,it was divided into Eastern Wei and Western Wei.Gao Yang,a powerful official of the Eastern Wei,deposed the emperor and set himself up on his own.With Yecheng as the capital and Datong in Shanxi as the secondary capital,the Northern Qi regime was established,and the Tuoba family officially retired from power.Beiqi times each class are revered buddhist,all kinds of buddhist art emerge in endlessly,in this period,especially the calligraphy art boom,a unique transferred to model the fusion feature of calligraphers,and a variety of forms,writing books,inscriptions,epitaph,statues,large-scale cliff carved Buddhism classics,are clueless,magnificent.In this aspect of sutras carving calligraphy,the Northern Qi Dynasty can make it unsurpassed in any era,and the sutras carving calligraphy in Xiangtang Mountain is one of the most outstanding.In the development of Chinese calligraphy,the scripture writing style with the characteristics of the combination of Li and regular script has great artistic value.It not only extended the legacy of Li and regular script of Han Dynasty,but also started the pioneer of regular script in Sui and Tang Dynasties,and even made indelible contributions to the recovery of the tombology of Qing Dynasty.In the exhibition field of contemporary calligraphy,there are many calligraphers who draw lessons from the fonts of the Northern Dynasty in style and style,and the number of works that incorporate the characteristics of traditional Chinese calligraphy,Li and regular script is also increasing,and the forms are becoming richer.This paper attempts to explore the political and historical environment of the Northern Qi Dynasty by sorting out and studying the classical scriptures carved on Xiangtang Mountain,and to understand the branches and veins of the development of Buddhism in the Southern and Northern Dynasties by looking up historical books,documents and related books,and to research the reasons why the rulers of the Northern Qi Dynasty chose to print certain scriptures on Xiangtang Mountain.And from the perspective of calligraphy,to discuss the reason of ring church carved by the calligraphy style,by understanding the causes of system to put at the same time the carved by different regions,different periods of calligraphy books wind is compared and comb,analyze the similarities and differences between these works and beiqi transferred to our development characteristic of fusion,and explore its influence on the development of the later generations calligraphy.Based on the above cognition,this paper will focus on the integration characteristics of the Northern Qi Xiangtang mountain scripture calligraphy,and its influence on the development of later generations of calligraphy and the author’s learning and creation.This paper is divided into three chapters.The first chapter introduces the special social and cultural background of the Northern Qi Dynasty,the reasons for the prevalence of sutras carving culture,and studies the relationship between the branches of Buddhism in the Northern Qi Dynasty and the selection of the content of sutras on Xiangtang Mountain in Hebei Province,and summarizes the situation of the sutras engraved on Xiangtang Mountain in Hebei Province.The second chapter mainly analyzes the causes,artistic expression and extension of the phenomenon of the integration of Li and regular script in the Xiangtangshan area of the Northern Qi Dynasty.By taking the time line as the axis,three vertical and one horizontal combing analysis is carried out.Firstly,the characteristics of calligraphy in the budding period of the integration of Li and regular script in the Northern Wei Dynasty were analyzed.Then it makes a horizontal comparison and analysis of the sutras carved in different regions of Shandong and Xiangtang Mountain in Hebei during the same period of the Northern Qi Dynasty,and analyzes the relationship between the people who carved the sutras with the support of literature,so as to explore the common calligraphy characteristics of the sutras carved in the Northern Qi Dynasty and those in Hebei.Subsequently,vertical comparison of the integration of Li and regular script in different periods is conducted to summarize the similarities and differences and connections between the budding period of the integration of Li and regular script and the mature integration of calligraphy in Xiangtang Mountain in the Northern Qi Dynasty,and to clarify the characteristics of the integration of Li and regular script in Xiangtang Mountain.Finally,through the comparative analysis of Li script and Li script Ou Eng in the Han Dynasty and the Northern Qi Dynasty,this paper exemplifies the development and innovation of the integration of Li script in artistic expression.At the same time,through the collection and collation of literature materials and the comparative analysis of works,this paper longitudinal explores the influence of the phenomenon of the integration of Xiangtang Mountain’s scriptures and scribe books on the later generations of calligraphy,and makes clear its inheritance,development and extension.Church in the third chapter mainly analyzes the ring carved by calligraphy transferred to our fusion characteristics influence on contemporary calligraphy creation,through determining the Northern Dynasty font in contemporary exhibition of works of analysis,to find the contemporary exhibition in determining the transferred to model the problems and shortcomings of the fusion feature,combined with the author’s own church carved by the transferred to hebei rang determining the characteristics of model integration,learning,and creative thinking,in the church that ring carved by calligraphy transferred to our art value of the fusion feature,and guiding significance for the contemporary calligraphy creation wei rubbings. |
