中國書法書體演變史

1、Beauty of Chinese Calligraphy——中國書法的演變,中國書法的種類： 篆書、隸書、行書、草書、楷書 漢字的演變： 甲骨文—金文—小篆—隸書—草書—楷書—行書,Oracle script 甲骨文Bronze script 金文Large seal script 大篆Small seal script 小篆Clerical script 隸書Cursive script 草

2、書Semi-cursive script 行書Regular script 楷書,Oracle script,Bronze script,Large seal script,Small seal script,Clerical script,Cursive script,Semi-cursive script,Regular script,一、甲骨文,甲骨文是中國已發(fā)現(xiàn)的古代文字中時代最早、體系較為完整的文字

3、。甲骨文主要指殷墟甲骨文，又稱為 “殷契”，是殷商時代刻在龜甲獸骨上的文字。19世紀(jì)末年，在殷代都城遺址（今河南安陽小屯）被發(fā)現(xiàn)。甲骨文繼承了陶文的造字方法，是中國商代后期王室用于占卜記事而刻（或?qū)懀┰邶敿缀瞳F骨上的文字。殷商滅亡周朝興起之后，甲骨文還延綿使用了一段時期,Chinese characters can be retraced to 4000 BC. The principles of contemporary Chines

4、e characters were already visible in  Jiaguwen,  carved on ox scapulas and tortoise  plastrons and around 14th - 11th century BC. During the divination ceremony, after the cracks were made, character

5、s were written with a brush on the shell or bone to be later carved.,Oracle bone script (Chinese: 甲骨文) was the form of Chinese characters used on oracle bones—animal bones or turtle plastrons used in&

6、#160;pyromantic divination—in the late 2nd millennium BCE, and is the earliest known form of Chinese writing. The vast majority record the pyromantic divinations of the royal house of the late Shang d

7、ynasty at the capital of Yin (modern Anyang, Henan Province); dating of the Anyang examples of oracle bone script varies from c. 14th–11th centuries BCE to c. 1200–1050 BCE. Very few oracle bone

8、writings date to the beginning of the subsequent Zhou dynasty, because pyromancy fell from favor and divining with milfoil became more common. The late Shang oracle bone writings, along with a few contempo

9、rary characters in a different style cast in bronzes, constitute the earliest significant corpus of Chinese writing, which is essential for the study of Chinese etymology, as Shang writing is directly ancestral to t

10、he modern Chinese script. It is also the oldest known member and ancestor of the Chinese family of scripts, preceding the bronzeware script.,犬 quǎn 'dog',豕 sh? 'swine',Oracle

11、 script for Spring,Oracle script inquiry about rain: "Today, will it rain?",An oracle bone (which is incomplete) with a diviner asking the Shang king if there would be misfortune over the next ten days,Tortoise

12、 plastron with divination inscription dating to the reign of King Wu Ding,二、金文,金文是指鑄刻在殷周青銅器上的銘文，也叫鐘鼎文。商周是青銅器的時代，青銅器的禮器以鼎為代表，樂器以鐘為代表，“鐘鼎”是青銅器的代名詞。所謂青銅，就是銅和錫的合金。中國在夏代就已進(jìn)入青銅時代，銅的冶煉和銅器的制造技術(shù)十分發(fā)達(dá)。因?yàn)橹芤郧鞍雁~也叫金，所以銅器上的銘文就叫作“金文

13、” ；金文應(yīng)用的年代，上自商代的早期，下至秦滅六國，約1200多年。,金文作用：內(nèi)容多是記述重大事件，如紀(jì)念祖先、記錄賞賜、記述戰(zhàn)功或王命等,With the development of Bronzeware script and Large Seal Script, "cursive" signs appeared. Moreover, each archaic kingdom had its own

14、 set of characters.In about 220 BC, the emperor Qin imposed several reforms, among them is the character unification, which created a set of 3300 standardized small seal  characters. Despite that th

15、e main writing implement of the time was already the brush, main examples of this style are on steles.,Chinese bronze inscriptions, also commonly referred to as Bronze script or Bronzeware script are writi

16、ng in a variety of Chinese scripts on Chinese ritual bronzes such as zhōng bells and dǐng tripodal cauldrons from the Shang dynasty to the Zhou dynasty and even later. Ea

17、rly bronze inscriptions were almost always cast (that is, the writing was done with a stylus in the wet clay of the piece-mold from which the bronze was then cast), while later inscriptions were often engraved

18、after the bronze was cast. The bronze inscriptions are one of the earliest scripts in the Chinese family of scripts, preceded by the oracle bone script.,For the early Western Zhou to early Warrin

19、g States period, the bulk of writing which has been unearthed has been in the form of bronze inscriptions.As a result, it is common to refer to the variety of scripts of this period as “bronze script”, even though there

20、is no single such script. The term usually includes bronze inscriptions of the preceding Shang dynasty as well. However, there are great differences between the highly pictorial Shang emblem (aka "identifi

21、cational") characters on bronzes (see "ox" clan insignia at left), typical Shang bronze graphs, writing on bronzes from the middle of the Zhou dynasty, and that on late Zhou to Qin, Han and

22、subsequent period bronzes. Furthermore, starting in the Spring and Autumn period, the writing in each region gradually evolved in different directions, such that the script styles in the Warring States of 

23、Chu, Qin and the eastern regions, for instance, were strikingly divergent. In addition, artistic scripts also emerged in the late Spring and Autumn to early Warring States, such as Bird Script (鳥書

24、0;niǎoshū), also called Bird Seal Script (niǎozhuàn 鳥篆 ), andWorm Script (chóngshū 蟲書).,寅 ''Yín'' in Four Different Scripts on Shang–Zhou bronzes,Shang Dynasty,Late Western Z

25、hou,Bird Script, early Warring States,Late Warring States,三、小篆,小篆是在秦始皇統(tǒng)一中國后（前221年），推行“書同文，車同軌”，統(tǒng)一度量衡的政策，由宰相李斯負(fù)責(zé)，在秦國原來使用的大篆籀文的基礎(chǔ)上，進(jìn)行簡化，取消其他六國的異體字，創(chuàng)制的統(tǒng)一文字漢字書寫形式。一直在中國流行到西漢末年（約公元8年），才逐漸被隸書所取代。但由于其字體優(yōu)美，始終被書法家所青睞。又因?yàn)槠涔P畫復(fù)雜，形式奇

26、古而且可以隨意添加曲折，印章刻制上，尤其是需要防偽的官方印章。,,小篆特點(diǎn)：筆畫復(fù)雜，形式奇古，筆劃粗繁，追求對稱,Small Seal Script (Chinese:?小篆, xiǎozhuàn),formerly romanized as Hsiao-chuan and also known as Seal Script, Lesser S

27、eal Script and Qin Script (秦篆,Qínzhuàn), is an archaic form of Chinese calligraphy. It was standardized and promulgated as a national standard by Li Si, prime minister under S

28、hi Huangdi, the First Emperor of Qin.Before the Qin conquest of the last six of the Warring States of Zhou China, local styles of characters evolved independently of one another for centuri

29、es, producing what are called the "Scripts of the Six States" (六國文字) or "Great Seal Script". Under one unified government however, the diversity was deemed undesirable as it hindered timely communicat

30、ion, trade, taxation, and transportation and as independent scripts might represent dissenting political ideas.,Hence coaches, roads, currency, laws, weights, measures, and writing were to be unified systematically. Char

31、acters which were different from those found in Qin were discarded and Li Si‘s small seal characters became the standard for all regions within the empire. This policy came in about 220 BC, the year after Qin’s unificati

32、on of the Chinese states, and was introduced by Li Si and two ministers. The small cursive form clerical script came after the small script.Li Si's compilation is known only through Chinese commentaries through

33、 the centuries. It is stated to contain 3,300 characters. Several hundred characters from fragmented commentaries have been collected during the Qing period, and recent archeological excavations in Anhui, China, have unc

34、overed several hundred more on bamboo strips to show the order of the characters; unfortunately, the script found is not the small seal script as the discovery dates from Han times.,四、隸書,隸書，亦稱漢隸，是漢字中常見的一種莊重的字體。隸書起源于秦朝，由程

35、邈整理而成，在東漢時期達(dá)到頂峰，書法界有“漢隸唐楷”之稱。,The clerical script (traditional Chinese: 隸書; simplified Chinese: 隸書; pinyin: lìshū; Japanese: 隷書體, Reishotai), also formerly chancery 

36、script, is an archaic style of Chinese calligraphy which evolved in the Warring States period to the Qin dynasty, was dominant in the Han dynasty, and remained in use through the&#

37、160;Wei-Jin periods. Due to its high legibility to modern readers, it is still used for artistic flavor in a variety of functional applications such as headlines, signboards, and advertisements. This legibility stem

38、s from the highly rectilinear structure, a feature shared with modern regular script (kaishu). In structure and rectilinearity, it is generally similar to the modern script; however, in contrast with the tall to squ

39、are modern script, it tends to be square to wide, and often has a pronounced, wavelike flaring of isolated major strokes, especially a dominant rightward or downward diagonal stroke. Some structures are also archaic.,Dur

40、ing Warring States, proto-clerical script emerged in casual, informal usage. During the Qin dynasty it appears to have also been used in some scribal capacity, but never in formal usage. Maturing into clerical script in

41、the early Han, it soon became the dominant script for general purposes, while seal script remained in use for the most formal purposes such as some stelae, signet seals (name chops), and especially the titles of written

42、works and stelae; some cursive was also in use at the time. Out of clerical script, a new form then emerged in the middle of the Eastern Han dynasty, which Qiu terms "neo-clerical" script; it was from this

43、 neo-clerical and from cursive that by late in the Eastern Han semicursive would then evolve, out of which then emerged the modern standard script. Thus, the evolution from clerical script to standard script was not a di

44、rect step as commonly supposed.,Lishu, the clerical script is more regularized, and in some ways similar to modern text, were also authorised under Qin Shi Huang.Cursive styles descended from Clerical script, the regula

45、r script in Han Dynasty, but either semi-cursive (行書）or cursive script (草書）were used for personal notes only, and were never used as standard.,隸書特點(diǎn)：書寫效果略微寬扁，橫畫長而直畫短，呈扁長方形狀，講究“蠶頭雁尾”、“一波三折”,《乙瑛碑》,《張遷碑 》,五、草書,草書：形成于漢代，是為了書寫

46、簡便在隸書基礎(chǔ)上演變出來的。成熟于東晉、盛唐繼續(xù)發(fā)展。有章草（隸草）、今草、狂草之分。特點(diǎn)：結(jié)構(gòu)簡約、筆畫連綿、勾連不斷，書寫自由。,Cursive script (simplified Chinese: 草書; traditional Chinese: 草書; pinyin: cǎoshū), often mistranslated asgrass script 

47、(see Names below), is a style of Chinese calligraphy. Cursive script is faster to write than other styles, but difficult to read for those unfamiliar with it. It functions primarily as a kind of&

48、#160;shorthand script or calligraphic style. People who can read standard or printed forms of Chinese may not be able to comprehend this script.,The character 書 (shū) means script in this context, and the

49、character 草 (cǎo) means quick, rough or sloppy. Thus, the name of this script is literally "rough script" or "sloppy script". The same character 草 (cǎo) appears in this sense in the noun "rough d

50、raft" (草稿, cǎogǎo), and the verb "to draft [a document or plan]" (草擬, cǎonǐ). The other indirectly related meaning of the character 草 (cǎo) is grass, which has led to the mistranslation "gra

51、ss script".,Beside zhāngcǎo and the “modern cursive”, there is the “wild cursive” (Chinese: 狂草; pinyin: kuáng cǎo,) which is even more cursive and difficult to read. When it was developed by Zhan

52、g Xuand Huaisu in the Tang dynasty, they were called Dian Zhang Zui Su (crazy Zhang and drunk Su, 顛張醉素). Cursive, in this style, is no longer significant in legibility but rather in artistry.Cursive

53、scripts can be divided into the unconnected style (Chinese (S) and Japanese 獨(dú)草, Chinese (T) 獨(dú)草, pinyin dúcǎo,) where each character is separate, and the connected style (Chinese (S) 連綿, Chinese (T) 連綿, Japanese

54、 連綿體, pinyin liánmián) where each character is connected to the succeeding one.,Cursive script in Sun Guoting'sTreatise on Calligraphy.,Chinese calligraphyis the art of line in a highly concentrat

55、ed and purified form. Awareness in calligraphy began during the Wei-Jin. It was in this period that the rigid, orderly, and imposing official style, the clerical script, gave way to the running, cursive, and regular scri

56、pts. What used to be a little known and unimportant occupation of the middle and lower classes now became a skilled and absorbing pastime of the great families and distinguished scholars.,From the merchant who hoists up

57、his newly written shop sign with ceremony and incense to the poet who indulges in the brilliant sword dance of the brush, calligraphy is revered above all other arts. Not only is handwriting considered a clue to a person

58、’s temperament, moral worth, and learning, but the uniquely ideographic Chinese script has charged each individual characters with a richness of content and association.,，,王羲之（Wang Xizhi, 303—361),Lanting Xu, or Preface

59、to the Orchid Pavilion, is the masterpiece of Wang Xizhi. It ranked the greatest calligraphic masterpiece of semi-cursive script in history . The gem of Chinese calligraphy, like a “frolicking dragon,” vigorous, yet refi

60、ned and elegant with dynamic significance and extraordinary grace. The text recorded the beauty of mountains and water surrounding the Orchid Pavilion as well as the pleasure of gathering.,六、行書,行書是在楷書的基礎(chǔ)上發(fā)展起源的，介于楷書、草

61、書之間的一種字體，是為了彌補(bǔ)楷書的書寫速度太慢和草書的難于辨認(rèn)而產(chǎn)生的?！靶小笔恰靶凶摺钡囊馑迹虼怂幌癫輹菢恿什?，也不像楷書那樣端正。實(shí)質(zhì)上它是楷書的草化或草書的楷化?？ǘ嘤诓莘ǖ慕小靶锌?，草法多于楷法的叫“行草”。,翩若驚鴻，矯若游龍,王羲之東晉,On March 3 in lunar calendar, 353, Wang Xizhi together with other 41 people held the rite

62、of Xi, a ritual to eliminate and avoid the evil, in Shaoxing. They created prose and poems respectively and collected them together as Lantingji, or The Collection of the Orchid Pavilion. Wang Xizhi created a preface to

63、this collection. The text recorded the beauty of mountains and water surrounding the Orchid Pavilion as well as the pleasure of gathering.,莫春者，春服既成，冠者五六人，童子 六七人，浴乎沂，風(fēng)乎舞雩，詠而歸。 （《先進(jìn)》）Joseph Addison:

64、True happiness is of a retired nature, and an enemy to pomp and noise; it arises, in the first place, from the enjoyment of one’s self, and in the next from the friendship and conversation of a few selected companions

65、. The Spectator, March 17, 1711,王獻(xiàn)之（Wang Xianzhi, 344－386）：《鴨頭丸貼》,張旭（Zhang Xu，675 —747）,One day, on the streets of Chang’an, Zhang saw a crowd of people gathering to enjoy a

66、performance by Lady Gongsun, a sword dance, in which her supple body and flying robe mixing with the movements of the sword up and down, and becoming perfectly integrated into the surroundings. Rapid progress was he made

67、 from then on.,Watching Lady Gongsun’s Disciple Perform a Sword Dance Du Fu (712-770),Preface     On October 19th in the second year of the Dali era (766-779), in the house of the Kueifu o

68、fficial, Yuanchi, I watched a young lady, Li of Lingying, perform a sword dance with robust and impressive footing. I asked who her teacher was and she replied, “I am a disciple of Lady Gongsun.”,I remember in the third

69、year of the Kaiyuan era (713-741), when I was still a child, watching Lady Gongsun perform a sword dance in Yancheng, moving like a floating boat in deep water hit by the swift patter of rain, unequaled among her peers.

70、Of all the top performers of the Pear Garden dance troupe, and those I knew of outside the troupe, performing in the early years of the Emperor, sacred of literary talent and military might, Lady Gongsun was alone.,She h

71、ad a jeweled appearance and wore embroidered clothes, but now I have gray hair and even her disciple’s face is no longer young. Since I now recognize her roots, I know there is no second to her sublime routine. To consol

72、e my ardent sighs a bit,  I wrote a poem then, called “Ode to Swords.”,There once was a man from Wu named Zhang Xu, skilled in cursive calligraphy, who beheld Lady Gongsun perform her Western River Sword Dance