What is a "broken body"?

After checking the etymology of the book, there are three explanations: 1, the style of breaking Kun. Notes in the first chapter of Tong Canqi: "Ma Yi said that Gan Kun got a wrong score, but he gave birth to six sons, and all six sons were broken." 2. One of the styles. Yan Yuan's "Law Secretary" and essays: "Zhong (Yao) is good at writing truth, Zhang (Xu) is called, You Jun (Wang Xizhi) is acting, and Xiao Ling () is broken." "Xian Shu" changed its father's body to cursive script, so it was called broken body. 3. Inappropriate rude words. Poems by Li Shangyin and Li Yishan in Tang Dynasty: Soon, the description was written on a piece of paper. In the morning, he put it on the purple stairs with a bow. From the interpretation of Ci Yuan, the traditional "broken style" calligraphy refers to cursive script. Cursive script tells people today that there is nothing strange, and everyone is used to it. But in the Eastern Jin Dynasty, it was a great event, an invention and a creation. Therefore, Zhang Huaiguan in the Tang Dynasty said in "On Books": "Amethyst (Wang Xianzhi) is far-sighted, and besides running grass, it has opened a new door." Later, Yan Zhenqing of the Tang Dynasty wrote Poems of General Pei, which not only used cursive script, but also added regular script. Others call it a broken script. This can be extended to "broken body" calligraphy, which is a variety of calligraphy styles and used in a calligraphy work. Textual research on the name of "broken calligraphy" Throughout the calligraphy dictionary, the word "broken calligraphy" has always had literal meaning and calligraphy meaning. The "broken style" in writing refers to typos, which is caused by the irregular writing method of Chinese characters. In the book Lu Yuan Cong Shu Hua Ren Xue Shu in the Qing Dynasty, it was said: "Monuments such as Carved Zun, Zheng Daozhao, Yuan Taifu, Development Temple and Longzang Temple are actually Europe, Jade, Chu and Xue Suozu, but the time is chaotic, and they are not mentioned now, or even destroyed. But when we look at the books on bamboo and silk in the Western Han Dynasty from this angle, we find that most of them are broken, but they are not typos. This refers to typos. The "broken body" in calligraphy refers to the artistic creation that combines the strengths of various schools. Song Dynasty's Book Club Essentials, Volume 11, On the Book of the Tang Dynasty, said: "It is wonderful for the right army to be small. "China Dictionary of Calligraphy and Seal Cutting points out the origin of the name" broken body ":"(broken body) refers to a kind of miscellaneous body created by Wang Xianzhi, which is between line and grass. Tang's "Comments" says: "The method of respecting children is not in the grass, but the flow is convenient for the grass, the battle is in the front line, and the grass is in the middle". It seems that the first person who pointed out the word' broken body' was Zhang Huai, a great calligrapher in the Tang Dynasty. " China Calligraphy Dictionary explains: "(1) Calligraphy Title. In Jin Dynasty, Wang Xianzhi changed Wang Xizhi's running script and became a family of its own, so it was called "breaking the body". "Hokkekyo to be recorded on Xu Hao": "Zhongshan cursive script, small order to break the body, all wonderful for a while"; (2) the alias of the running script. Mr. Song Huangxi said,' Learn books first, then straighten up, then break the body, and then cursive'. Therefore, the word "broken" is used as a verb, and breaking the body is used as "destroying the body"; Or as a description, breaking the body is "breaking ancient calligraphy." "Part of speech should be neutral. But when it becomes synonymous with calligraphy innovation, its meaning is flexible. Modern people often use this meaning when studying. " Broken-style calligraphy, also known as "variant calligraphy" and "deformed calligraphy", refers to a marginal calligraphy style formed by breaking the limitation of a single calligraphy style and using the interconnection of five calligraphy styles, which is synonymous with innovation. The attitude towards tattoos has always been basically from the perspective of calligraphy. In the Ming Dynasty, Zhao Huanguang's "Talk about a Broom in the Cold Mountain" was published: "Broken and true, broken and true. "Can be broken or not; There is a righteous judgment and a meaningless judgment. If you can't break it, don't talk about it. The fallacy of the world is based on brushwork, or it is called' broken body' for the book of the wild fox. I don't know the name of calligraphy. " Break is not miscellaneous, but pay attention to unity and unity. Qian Yong's Book in the Qing Dynasty said: "Money is given to the old, but the left hand is hard to turn. Therefore, the bronzes of Zhong Dingwen, Shi Guwen, Qin and Han Dynasties and the inscriptions on the Han stele were mixed inside, and suddenly they turned into a circle, which seemed like a seal, or like Zheng Banqiao casting the seal into the furnace, which could not be used as training. " In the official script, he said: "Being an official is more corrupt than being a father or a father, and then he is ruined. I don't know where he came from, but his ancestors completely forgot his learning pulse." Although the article shows the characteristics of broken calligraphy, it holds a negative attitude towards its appearance, and there is no dialectical thought like Zhao Fanfu's, which is caused by the limitation of ideological concepts. Ruan Yuan, a scholar, basically understands the inscriptions in the Northern Dynasties from the perspective of philology, although he does not necessarily object to the emergence of broken bodies: "There are too many broken bodies in the inscriptions in the Northern Dynasties, and there is no lecture between soldiers, which leads to the confusion of six books and the false wall." However, from an artistic point of view, perhaps because of this, Wei Bei acquired the characteristic that "blood is thicker than water, but old is bone". The question is, is it "writing method" or "expression method"? Many people hold a conservative view and hold a negative attitude towards Zheng Banqiao's "painting into a book". The reason is that when introducing the expression method of "brush", Min Nangong denied the writing methods of "painting", "drawing" and "typesetting", and thought that the latter three writing methods were not as good as the "carefree and calm" of the brush, and the strength and momentum were not enough, which has always been the standard. Zheng Xie should be truly regarded as a master of breaking the body, because he has reached a certain height both in practice and in theory. The Story of Maureen by Jiang in Qing Dynasty: Yu Taishou's poem: "Banqiao writes words like orchid, elegant and graceful;" Banqiao takes orchids as words, and the beauty of flowers and leaves is wonderful. " "I don't know the stubborn fairy Zheng Banqiao, who is neither a Buddha nor a demon. Copying Tuohe at night is also a valley, which is an affirmation of his calligraphy innovation. Qing Qin Zu Yong's Painting on Children's Tone is also quite positive: "Banqiao is romantic and elegant, and the title is great. The ancient brush of weeds is wonderful in every word. "These two are actual evaluations, which at least affirmed the innovative characteristics and value of Banqiao. Another tattoo artist, Yang Fa, is not sure. Modern Ma Zonghuo's evaluation of "Over the Building Bitan" is: "Wild grass is almost unknown, and there is no brushwork at all", which is too arbitrary. What I saw in "Handed down Calligraphy in China" was Yang Fa's seal script, which was of course a broken seal script, full of new ideas, but not so wild as to make people confused. I think his works are more meaningful than those hard and sweet works. In the aesthetic sense, our "breaking" is not a way of losing aesthetic feeling, such as scribbling or misplacing, but a creative change with purpose and unique aesthetic connotation. However, after partially affirming the Banqiao calligraphy style of Sha Menghai's calligraphy in the past 300 years, he said that he was "a person who wants to change but doesn't know how to change", which made many people regard learning from Zheng Banqiao as "possession" or even "a scourge". Analyzing realistically, Zheng Xie's writing is not mature enough and stylized enough, but his fine works are the testimony of boldly breaking through the barriers of predecessors and daring to be original. Throughout history, in the process of the evolution of the Five Principles, there will be some marginal and unformed calligraphy styles, which show diversity and difference because of their "hybridity" and are more valuable to people today. If only from the microscopic aspects such as brushwork or structure, the meaning of "breaking the body" is too small; From the macro perspective of calligraphy style innovation, the aesthetic value of "broken calligraphy" is positive, and I think "broken calligraphy" is more important from this perspective. From a historical point of view: in the pre-Qin period, the evolution of characters and calligraphy was synchronous, and sometimes it was difficult to distinguish them. The first big move to break the body should be the "official transformation stage" in the evolution from seal script to official script. Many words on bamboo slips, bricks, mirrors and epitaphs are hard to read, but their beauty is self-evident. The calligraphy implication of the Qin and Han characters of Mawangdui, Shuihudi and Qingchuan is unforgettable. The combination of seal script and official script is only that the ancient people's "breaking" is unconscious or unclear. The second movement of breaking the body should be the richest in the evolution of official books from official to official in Wei, Jin, Southern and Northern Dynasties. The official books represented by the Twenty Styles of Longmen in the north, the Chinese characters on Mount Tai and Stone Valley, the stone carvings on the cliff of Tieshan, and the works in the south, such as Two Cuan, Cuan Baozi, Cuan Longyan and Gulang Monument, are like official letters, but they are not official letters, which make people remember deeply. Kang Youwei praised the "ten beauties" of the North Monument, which is true and simple. Nature is its true colors, which violates strict rules and regulations. Kang dares to violate the Millennium law and look far. Although he is overcorrected, it also shows that he agrees with the variability of this style. The third dismemberment movement was in the late Ming Dynasty. In the mid-Ming Dynasty, Zhu Zhishan's Collection of Grass directly inherited the charm of Huai Su and The Valley, assimilated the past and made it a romantic style. Drawing with dots, the brushwork is old, like a storm; The breakthrough of composition is more obvious, which breaks the balance of word spacing and line spacing, but leaves white space in the expansion and contraction of words, and the density is naturally arranged. Moreover, the germination of capitalist factors in the late Ming Dynasty and the ideological emancipation movement in the literary and art circles gave calligraphers positive thinking. For example, the "unique expression" of the "public security school" is to break the situation that the "Wumen Calligraphy School" dominates the world. In the middle period, among the "Wu door calligraphers", people with courage have been shown. The cursive script is horizontal and vertical, with a pen, hand-painted and vigorous, showing the spirit of being enterprising. Chen Daofu's paintings and calligraphy are better than his teacher Wen Zhiming's, with bold brushwork and enjoyable cursive writing. Shows his broad mind. Xu Wei's cursive script is a bold break. Writing cursive script with running script or cursive script, claiming that "book is the first" in the "four absolutely", is interdependent with his freehand brushwork. And his contribution to calligraphy is the greatest, because his life experience is also the most peculiar. " The eight methods of dispersing saints and writing the word "forest knight" is a full affirmation of its innovation. Wang Duo, Fu Shan and others put forward bold calligraphy ideas such as "Dare to be careless" and "Four Ning and Four No", which had a great influence on later generations. Break wisdom with clumsiness, flattery with ugliness, even, elegance with vulgarity and so on. , all show the wisdom of calligraphers. Others, such as Zhang Ruitu's cursive script with Fang Bi as the grass, Huang Daozhou's cursive script with Zhong You's brushwork, Dong Qichang's meditation as the god, turning the fierce into the innocent, and the worldly wisdom as the naive, are all breakthroughs in tradition, but they are all weaker than Xu Wenchang's innovation. The fourth movement to break the body should be the "stone tablet movement" in the middle and late Qing Dynasty. The active efforts of Ruan Yuan, Bao and Kang Nanhai are obvious to all, which is a kind of reaction to the book style of "familiarity impairs elegance". It is a bold practice to advocate style characteristics such as "solid", "full of gas" and "simple and clumsy". He broke the emptiness with reality, broke the lightness with clumsiness, and broke the post with a monument, with the intention of success. Every "breaking the body" movement needs to go through many confrontations of negation and affirmation, tradition and modernity, and conservatism and openness. The eighth "celebrity font" in the Samadhi calligraphy of the Yuan Dynasty: "This paragraph of more than 500 words is a collection of broken bodies in posts since the Han and Wei Dynasties. Because it has been distorted for a long time, we don't pay attention to its output, for fear that it won't know until it makes mistakes. A large number of scholars have learned that they came out of seal script, so scholars must examine their methods in detail. If the result is suitable for seal script, they will take it. If they go to a vulgar author, how can they not know the difference! (March 18, the fifteenth year of Hongwu) ". This passage points out that seal script is the source of breaking style and should be absorbed critically by scholars with dialectical eyes. Yang Weizhen's calligraphy was not well known at that time, because his romantic and elegant works occupied the mainstream, and Yang's rough and unruly calligraphy style was called "sleet", which was quite shocking. "Lin Shu Zao Jian, History of Calligraphy and Painting" said: "The cursive script of the couplet is unqualified, but it is clean and charming." Li Dongyang said, "Iron Cliff doesn't need the title, Jiao Jie made his hair, calling it a human being. Xu Youzhen said: "The iron cliff is crazy and strange, but its steps are high. "Wu Kuan said:" The general transferred his troops, and the three armies won the battle, but the axe was broken. Therefore, it is an example to return it. This is the case in the book of Lian Fu. "I think it is impossible to make bold changes without a unique vision, let alone dare to cross the line. Calligraphers such as Zhiyong, Wu Ju, Shen and others are criticized by later generations because they dare not boldly walk out of the barriers of the ancients, stick to the door, lack new changes, and cannot achieve cross-era achievements and achievements, which is related to their modesty. Let's take a look at Zheng Xie's own view of his innovation: "As Huang Gu said,' The world only learns Lanting noodles, but wants to change every bone without an elixir', which shows that bones cannot be learned and noodles are not enough to learn. Lanting's face has been lost for a long time. Banqiao Taoist used the body of Zhong Lang and the pen of a teacher as the book of the right army, but it doesn't matter what Cai, Zhong and Wang are, how can they look like Lanting! The ancient calligraphy is fascinating, while the stone carvings are ever-changing. If you follow the same pattern, all talented people will return to the evil path. Pretend that this unconventional book is what the police want to learn, that is, ask contemporary celebrities. " (China Book Collection, p. 398) It seems that Zheng Xie is aiming at the bad "posts", mainly the "cabinet style" of learning posts, losing the innovative spirit of Wang Xizhi in those years, but just taking its appearance and fattening its vulgarity. Therefore, Jiang Ji's "Continued Book Theory" holds that "Mr. Banqiao's debate is extraordinary. People with extraordinary bones and people who keep their words grasp the crux of the problem and point out the truth that "the past is not forgotten, and the future is a teacher." His' abnormal book' (six and a half books) is unique in the book world and is a model of innovation "(ibid.). The ancients also paid attention to "getting together in ancient times and getting married" and standing on their own feet. It is the painter who dares to "break" calligraphy. Li Kuchan's so-called "painter's book" and the western so-called "calligraphy and painting" are just another name for "breaking the body" in a sense. In contemporary book circles, we can see works that enter the book through painting (such as painting and stippling), painting, splashing ink and even making arts and crafts. In the field of technological revolution, "breaking the old and establishing the new" has indeed brought great vitality to the book world. Wu Changshuo also said: "Those who learn from me will die, those who change me will live, and those who break me will enter" (Han Songting's Art Notes). Books are expensive and changeable, and only when they are worn out can they stand. It is far-sighted for Japan to set up the "Broken Books" Association. Unfortunately, there is no corresponding association in China or it is indifferent. However, in previous competitions, we can be gratified to see that many innovative award-winning works can be regarded as a kind of "broken" calligraphy with diverse methods and changeable styles. Today, we can study its aesthetic value and practical significance theoretically, which I think will be beneficial to the calligraphy innovation movement. Wu Zifu said in Lingnan Calligraphy: "If characters break the law first, there is a way to learn from it", which actually coincides with the meaning of "breaking the body" calligraphy. Throughout history, successful calligraphers have made breakthroughs and made achievements. First, such people have a lot of ups and downs, and they have cultivated a proud and independent temperament, so they are full of injustice; Second, know the mistakes of the ancients, avoid the similarities of today's people, and have a far-sighted vision; Third, comprehensive cultivation, dare to be unconventional, and be able to understand and combine their own achievements. Without these three, it's hard to break. Columbus broke the unconventional thinking established by eggs and provided a brand-new conceptual model for our innovation. Calligraphers should have the courage. "Follow other people's plans to the end and become a real family. "I think those who are single-minded, conformist and narrow-minded can only hope for' breaking' if they stick to a corner for the benefit. (The author is a Ph.D. student in Fine Arts at Nanjing Institute of Art)