Evolution of Chinese Calligraphy through the Ages
Dong Qichang (1555-1636), Eulogy on the restoration of the great Tang Dynasty in running script (section) ca. 1605-1610
Chinese
calligraphy has played a very significant role in the history of
Chinese art. Functional and artistic considerations all came together to
shape the development of various styles in the different stages of its
evolution.
In
the beginning, writing styles were dominated by social appeal and the
development and improvement of writing tools. When standard Chinese
scripts were established, calligraphy was no longer confined to the
realm as a functional form of writing; instead it became a way of
artistic expression for calligraphers.
Large Seal Script – The Origin of the Chinese Character
The Shang (ca. 1600-1100B.C.) and Zhou Dynasties (ca. 1100-256B.C.)
According
to Chinese mythology, Chinese characters were first created by Cang Jie
(dates unknown) under the teaching of Huangdi (the Yellow Emperor)
(dates unknown). Archeological finds show that the earliest Chinese
characters are known as the “Oracle Bone Script” of the Shang Dynasty.
“Oracle
Bone Script” refers to the characters engraved on tortoise shells and
animal bones which were unearthed from the Shang remains at Xiaotun
Village in Anyang, Henan. Most of these inscriptions are records of
divinations and omens.
In the Zhou Dynasty, people inscribed
historical texts on large numbers of bronze vessels. The characters are
known as “bronze scripts” (inscriptions on bronzes).
”Bronze Scripts”
are found on bronze wares of the Western Zhou Dynasty, and Spring
Autumn and Warring States periods, which were usually records of
important political events or wars. As the characters on bronzes were
engraved by awl (or casted), the strokes often appear as long and sharp
lines.
The Calligraphy of Wangxizhi
In
the Spring Autumn and Warring States periods, different states had
developed their own writing manners, thus a great variety of styles were
created. These scripts are known as “large seal scripts”.
Small Seal Script – Standardization of Seal Characters
Qing Dynasty (221-206 B.C.)
The
Warring States period came to an end when Emperor Shihuang (259-210
B.C.) of the Qing conquered all other states and China was then governed
by a central authority.
The Emperor ordered his Prime Minister,
Li Si (?-208 B.C.) to sort out all different systems of writing that
were prevalent in the former 6 states and to standardize the written
language and styles according to the rules of the Qing system. This new
script is known as “small seal script” which is typified by simplified
and systematic forms.
Due to tremendous workload and
government orders, it was quite inconvenient to use seal script in
writing, therefore the government scribers developed a more easily
written script by further simplifying the seal script. This new script
is known as “clerical script” (lishu) in reminiscence to the founder,
Cheng Miao (dates unknown), who was a prison warden. (Literally, “li”
corresponds to a prison officer or a prison office).
Clerical Script and Wooden and Bamboo Slips of the Han Dynasty – Inscriptions on Stones and Slips
Han Dynasty (206 B.C.-A.D. 220)
Clerical
script became the official writing script in the Han dynasty. It was
extensively used for engraving monumental stelae, replacing the former
seal script. The popular use of Chinese brush led to the conversion of
writing styles. A more suitable and cursive style of clerical script was
then devised and generally used.
As
this type of cursive clerical script is mostly found on the excavated
wooden and bamboo slips or silk fragments, they are known as “slip
writing style” and “silk writing style”.
The Development of
Regular Script, Running Script and Cursive Script– Stelae Style of the
Northern Dynasties; and Manuscript Style of the Southern Dynasties Wei,
Jin, Southern, and Northern Dynasties (220-589)
The present
regular script is always square in form with a balanced structure, which
was modified from the clerical script of the late Eastern Han period
and commonly used in the Wei-Jin period.
During the Northern and
Southern dynasties, people in the North adopted regular script in
engraving steles and yet the flat structure and angular strokes of the
Han style script could still be traced. This transitional style of
script is attributed as the “stelae style”.
In the south, the
great calligrapher Wang Xizhi (303-361) of the Eastern Jin dynasty posed
his idea that calligraphy should be treated as a means of artistic
creation rather than just for functional use.
In later times,
manuscript and writing of those literati calligraphers were often
transformed into engravings on wood or stone for making rubbings and
copies in order to preserve and make use of stylistic essence of these
masters.
The Cradle of Regular Script and Cursive Script
Sui (581-618), Tang (618-907), and Five Dynasties (907-960)
With
the full maturity of the regular script styles in the Tang dynasty,
calligraphers succeeded in establishing their own creative styles. Among
profound calligraphers of the Tang period, Ouyang Xun (557-641), Yu
Shinan (558-638, Chu Suiliang (596-659), Yan Zhenqing (709-785), and Liu
Gongquan (778-865) were the most acclaimed.
The Calligraphy of Yanzhenqing
Principles of regular script gradually became basic rules in learning and practicing calligraphy.
Representative
works in cursive script by Zhang Xu (act. Ca. 700-750) and Huaisu
(725-799) of the Tang dynasty are written in an extremely expressive
manner. Structures of characters and brush manners are modulated and
abstracted to show the unrestrained freedom of calligraphy art.
Appearance of Personal Creative Styles
Song Dynasty (960-1279)
Calligraphy
interpretation of the Song Dynasty often define it a “romantic and
liberate style”. It means that the Song calligraphers always tried to
free themselves and broke the restricted codes of the Tang calligraphic
styles to create their own. It’s no surprise to find that the most
influential Song calligraphers like Su Shi (1037-1101), Huang Tingjian
(1045-1105), and Mi Fu (1051-1107) established their own style with
superb creativity.
The “slender-gold style” of Emperor Huizong
(1082-1135) also marks another successful pursuit of personal character
in the art of calligraphy.
Renewal of Ancient Styles
Yuan (1271-1368) and Ming Dynasties (1368-1644)
Masters
such as Zhao Mengfu (1254-1322) of the Yuan Dynasty, Wen Zhengming
(1470-1559), and Dong Qichang (1555-1636) of the Ming Dynasty dedicated
themselves to study the classical Jin-Tang calligraphic styles, in
particular those of collectively known as the Two Wangs, Wang Xizhi and
his son Wang Xianzhi (344-386).
Folk Calligraphy
A
rich amount of calligraphy works collection in existence can be found
in the Jiangnan regions; calligraphers were able to study the treasures
of old masters and accomplished huge artistic achievements. Revisiting
tradition was in vogue and soon extended nationwide. Calligraphers
learned from the original works as well as the wood-block rubbings
(tie), marking the golden period of the so-called “model- calligraphy
school”.
Wen Zhengming (1470-1559)
Poems on fallen Flowers in small regular script (section) 1504
Growth of the Stelae School of Calligraphy
Qing Dynasty (1644-1911)
From
the late Ming to early Qing period, some calligraphers progressively
lost interest in learning from wood-block rubbings and turned to the
archaic Han stelae styles.
Learn Calligraphy
Influenced
by the studies of the mid-Qing period, calligraphers began to draw
inspirations from the more ancient seal script styles. Writings of seal
and clerical scripts were therefore revived and calligraphers further
adopted the characteristics of seal and clerical scripts in writing
regular and running script. This new tendency of calligraphic art is
known as “stelae school of calligraphy “or “bronze and stelae styles”.
Assimilation of the Past for a new Rendition: The Development of Chinese Calligraphy in the 20th Century
The
latest archeological finds such as Han bamboo slips, silk writings, and
Dunhuang Sutras, the publications of works of various major masters,
create considerable impact on the development of modern Chinese
calligraphy. Major influences from the past are constantly assimilated
into modern techniques and styles, creating contemporary new visions and
creative experiments.
Source: http://tinyurl.com/kttl3r7