The Rise Of Epigraphy In The Song Dynasty And The Changes In The Aesthetic Atmosphere Of Calligraphy

The study of epigraphy originated at the time of the restoration of antiquity in the early Song Dynasty.The trend of restoration of antiquity was intertwined with the trend of suspicion of antiquity.Scholars such as Ou Yangxiu and Zhao Mingcheng,who were good at antiquity and rich in literature,blazed new trails to excavate and textual research gold and stone artifacts.The epigraphy collection began from the literati class and was later accepted and loved by the emperor.And the ruling class attaches importance to the antiques of the three generations due to the need of restoring the etiquette system.The first epigraphy works are classified,with a variety of works.The literati group loves the epigraphy.They gathered and socialized gracefully,searched for ancient monuments,touched and played with them,and distinguished between authenticity and falsehood.The remains of calligraphy are ancient and delightful.After being imbued with their temperament,they were sent to the end of the pen,where they were delighted in writing and calligraphy.If you don’t write for a day,everything will be deserted.Epigraphy has given rise to new calligraphy styles,and Bo Gu Tu includes ancient works from the Xia,Shang,and Zhou dynasties;Gold,stone,and bamboo slips have entered calligraphy practice,and imperial and personal calligraphy practice have become popular;The title and postscript were subsequently produced.The number of calligraphers seeking Dharma objects has increased,and the aesthetic standards have changed.The trend was to take ancient times as the beauty,while those who lived in ancient times are better,while those who lived in ancient times are worse.Frequent appreciation of ancient calligraphy,especially the seal script and official script of the Qin and Han dynasties,is conducive to learning regular script,running script and cursive script.The inferior of Tang Dynasty’s law worships the Jin Dynasty’s rhyme,opposes learning books that are embarrassed by the law,broke the shackles of the Tang’s law,advocated the impossible law,and formed its own style.New aesthetic concepts appear in calligraphy criticism,we should reflect on the fact that today is not as old as the past,reply to the three generations,be elegant and good at gold and stone,and learn from the past to seek novelty.Indulge in the mood,break down barriers,play with impeccable ink,not less clumsy,and seek the taste of natural innocence.There is an urgent need to seek rhyme and transcend form and quality.Rather clumsy than workmanlike,one accepts ugliness into beauty.Strange and primitive,each has its own beauty.The aesthetic trend of calligraphy in the Song Dynasty has had a profound impact,with particular emphasis on the Ming Dynasty and the Qing Dynasty.Liu Xizai regarded ugliness as beauty,and Fu Shan praised thoughts which called “rather clumsy is not clever,rather ugly is not charming,rather fragmented is not smooth,rather random is not arranged”.At present,ugly calligraphy is rampant,and the reflection on the beauty and ugliness of calligraphy needs to be traced back to the original,and the connotation of beauty and ugliness in calligraphy theory needs to be clarified.