A native of Hailing (now Taizhou, Jiangsu) in the Tang Dynasty, he was a calligrapher and critic of calligraphy and painting. There is no examination of his birth and death, and he was active from Kaiyuan (713-755) to Qianyuan (758-759) of the Tang Dynasty. Li Guanyou led the government soldiers Cao Shenjun, Hanlin Zongzong, Ezhou Sima and so on.
Zhang Huaiguan wrote Shanzhen, Xing, Xiaozhuan, Bafen and other books. He himself said that his formal (script) and running (script) are comparable to those of Yu (Shinan) and Zhu (Suiliang), and Cao Yu has been unique for hundreds of years, and is no different from King Zhong. His younger brother Huaiyou had literary talents, was good at seal script and Bafen, and was especially good at cursive and Li. He was a bachelor's student in Hanlin Academy and Jixian Academy. His father Zhang Shaozong was also a calligrapher. It can be seen from this that Zhang Huaiguan grew up in such a calligraphy family, and there is no doubt that he is good at calligraphy. Unfortunately, Zhang Huaiguan's handwriting has not yet been discovered. Apart from calligraphy, his deeds are rarely mentioned.
The calligraphy commentaries handed down from generation to generation include "Shu Appraisal", "Book Records of Two Kings and Others", "Shu Yi", "Character Theory", "Six Types Theory", "Book Break", "Pingshu Yaoshi Lun" and so on. He also wrote "Painting", but unfortunately it has been lost for a long time. Zhang Yanyuan of the Tang Dynasty quoted some of his essays in "Records of Famous Paintings in the Past Dynasties".
"Shu Duan" describes the origins of the ten styles of calligraphy and the three grades of calligraphers. "Book Evaluation" evaluates the value of calligraphy, "Book Review" evaluates 19 famous calligraphers, "Character Theory" discusses books with friends, and "Book Review Medicine and Stone Theory" describes calligraphy skills.
"Shu Duan" consists of three volumes: the first, middle and second volumes. The first chapter of the first volume is self-prefaced, followed by a general heading. After the general heading, the origins of the ten styles of the book are described one by one, with comments and praise for each series, and finally a general conclusion. The middle volume and the second volume list the ancient and modern calligraphers, starting from Cangjie in the Yellow Emperor's time to Lu Zangyong in the Tang Dynasty. There are a total of 86 people in more than 3200 years, with three grades: Fen Shen, Miao and Neng. Each has a short biography, and there are 38 people in the appendix of the biography. . The volume does not include a general review.
Zhang Huaiguan's several works were written in the following years: "Shu Duan" in the 15th year of Emperor Xuanzong's Kaiyuan reign (727), "Shuju" in the 13th year of Emperor Xuanzong's Tianbao reign (754), and "Shuyi" in the first year of Emperor Suzong's Qianyuan (758). ), between 110 and 141 years after the founding of the Tang Dynasty. The year 289 of the Tang Dynasty is appropriate. What was the situation in the book world during this period? All things in the universe are constantly developing and changing, and the style of writing is also changing, with various shapes and forms. By the time of the Southern and Northern Dynasties, the world of calligraphy was like the Spring and Autumn Period and the Warring States Period, with heroes vying for the throne and hundreds of schools of thought emerging. Zhen, Li, Xing, and Cao were all in extreme change. When it developed into the Tang Dynasty, emperors and ministers competed to study this method. Moreover, it is difficult for the calligraphy style to show the potential for newness and novelty. Instead, it pays more attention to the competition of brushwork and structure, and increasingly emphasizes legality. As far as calligraphy styles are concerned, there are six styles (Qin Dynasty), eight styles (Xu Shen of the Han Dynasty), thirty-six styles (Wang Jian), fifty-six styles (Wei Ji), and even hundreds of styles. Say wait. This complex and complicated situation of contention among a hundred schools of thought has brought about the progress of calligraphy taxonomy. Zhang Huaiguan wrote in the "Preface to the Book": "The pale ones sing the first, and the ignorant ones continue. The opinions are clear, and it is rare to know which one is it. And when discussing the ancestors of Chinese characters, they all hold heresies and speculate that bees are flying, which is completely unfounded. "It's so confusing." His description of the confusion of calligraphy classification at that time is accurate. Zhang Huaiguan wrote "Book Break" to explain "the origins of the ten styles of books" and to judge "the origins of books" in order to "discuss the past and present, pull out the root of the fox, resolve the knots of disputes, examine the absurd and absurd, and explore the subtleties". The pros and cons of the three products.” Undoubtedly, his contribution to calligraphy is huge.
Zhang Huaiguan listed ten styles of calligraphy: ancient Chinese, large seal script, small seal script, small seal script, eight points, official script, chapter, running script, Feibai and cursive script. He pointed out that "in addition to the ten books, there are books about turtles, snakes, lins, tigers, clouds, dragons, insects, and birds. They are not important in the world and should not be taken." For those who do not take this, Sun Guoting of Tang Dynasty held the same opinion as him in his book "Shupu". These miscellaneous books are still occasionally seen among the people, but they are not included in the scope of calligraphy research.
Zhang Huaiguan said: "(Zhenwen) is slightly different from ancient Chinese and Dazhuan." In other words, ancient Chinese, Dazhuan and Zhuan are generally similar. In this case, in line with the classification principle of "removing minor differences and maintaining great unity", the above three bodies are merged into one, collectively called seal script. Xiaozhuan was created after the Qin Dynasty merged with the Six Kingdoms. The First Emperor adopted Li Si's national policy of "writing with the same text", banned other calligraphy styles, burned books, and created Xiaozhuan. The so-called "seal", he said: "The seal is passed down." The so-called large seal and small seal do not mean that the shape of the characters is large or small, but it refers to the ancient and modern meanings. According to ancient and modern legends, the big seal script is a seal script, and the small seal script is also a seal script. He said: "(The small seal script is) an addition to the larger seal script, similar to and different from the original script." In this case, the ancient script, the large seal script, the original script and the small seal script can be grouped into one category, and they can be collectively called seal script.
He also said: "The regular script and the official script were originally made, and the large and small scripts are almost the same." It has the meaning of seal script; the second, regular script and official script are basically the same. From this, we can know that the official script mentioned in the Tang Dynasty was regular script, which is different from the official script we recognize today. And "(Bafen) is originally called regular script", "because of its age, the eight characters gradually become scattered, and it is also called Bafen." In short, now we can generally classify official script and Bafen into one category, collectively called official script .
Cursive script includes Zhangcao, Xingcao, Jincao (small grass), and Kuangcao (large grass). He pointed out that "the beginning of cursive script is due to drafting." This is the fundamental reason for the formation and development of cursive script, which is what he said "the origin of cursive script." "Zhangcao is the speed of official script, and grass is the speed of Zhangcao." This sentence expresses the essential connection between Zhangcao and Cao, especially the closer connection with Jincao. He did not use the name "Kuaicao" in "Book Break". He wrote that cursive fonts are "involved in the upper and lower characters, or borrowed from below the upper characters to be above the lower characters. They have strange shapes and combinations, and include both numbers and meanings." Therefore, Zhangcao, Jincao, Kuangcao, and Xingcao can be generally divided into one category of cursive script.
张怀瓘在《书断》中说：行书“即正书之小伪”。什么是正书？正书属于哪一类书体？他没有说，但他运用了这个概念。他又说行书“非草非真”，什么是真书？真书属于哪一类书体？他也没有说，但也运用了这个概念。今日，我们知道“正书”、“真书”和“楷书”，说的是同一书体，仅名称不同而已。关于行书，他又说：“行书非草非真，离方循圆，在乎季孟。兼真者谓之真行，带草者谓之行草。”有没有既不兼真，又不带草的这种行书呢？他没有说，确实也难说。既已将行草纳入草书之类，那么，真行便可以纳入真书之类。因实用性强，将兼真带草的这两种行书，仍划分行书体。
至于飞白体，张怀瓘说，东汉蔡邕某日见修饰鸿都门的“役人以垩帚成字，心有悦焉，归而为飞白之书”，“并以题署宫阁”。这是一种实用书体，其法失传，其迹不存，无从稽考。故专辟一体，已无必要。
中国的文字及书法，自古迄今，形态、风韵各具特色。显示了中华民族无比惊人的智慧和创造力。就书体分类而言，从狭义上说，人各一体；从广义上讲，应舍小异、取大同，尽量简约。张怀瓘将书体归纳为十体，无疑是一大进步。今将汉字分为真、行、草、隶、篆五体，或真、草、隶、篆四大体，毫无疑问，是受了张怀瓘书体分类的很大影响。
清代兴化人刘熙载在他的著作《艺概》中写道：“书凡两种：篆、分、正为一种，皆详而静者也。”行、草为一种，皆简而动者也。”分为详、简即动、静两类。这是简之不能再简的一种分类了。有趣的是，书之笔画也是两类：点和线。点、线间架有纵横、上下、斜正、揖让、向背。墨写的点线与白色的纸，构成黑与白。动与静、点与线、黑与白，相反相成，体现了阴阳之道，构筑起一个书法世界。体现了天人合一的中华民族传统文化所追求的哲学思想和审美情趣。
张怀瓘所列十体书，每体首先指明由某某所造，这不免有些勉强。但他在《书断●论》中又论道：“权舆十体，相沿互明。创革万事，皆始自微渐，至于昭著。”这也是正确的。这说明，文字及其书法的产生和运用。以及在运用的长期过程中，不断衍化发展着，由古及今至未来，依然如此。比如简化汉字及其书法，是哪一个具体人所造呢？即便其中某一个字，比如“汉”这个字，是谁创造出来的呢？我们只能说是“公众”，这才是文字和书法发展的本源。所以，对他所列各书体之祖，不必作机械式的确认，而只能是模糊性的认同。
《书断》卷中、卷下为：“自黄帝史籀苍颉，迄于皇朝黄门传郎卢藏用, ……论较其优劣之差，为神、妙、能三品，人为一传。亦有随事附者，通为一评，穷其藏否。”按“神、妙、能三品”品评书作，在我国书学史上，他是最早的一位。故《四库全书提要》称“书家有三品之目，自此书始”。这对于书之创作、鉴赏、收藏，均有一定的促进作用。孟子说“观水有术，必观其澜”。观书也有术，“三品”就是一种术。
卷中开篇是前言，后为神、妙、能三品总目，总目后有一段诠释性文字。其后分神、妙、能三品，每品中入品书家按年代为序，逐一立传加以细评。卷中评到妙品止，卷下续评，为能品。然后是一段小结性文字。
今于三品中各录一人为例，以了解他如何确定书品等第。
神品。张芝，字伯英，敦煌人。火焕，为太常，徙居弘农华阴。伯英名臣子，幼而高操，勤学好古，经明行修。朝廷以有道征，不就。故时称张有道，实避世洁白之士也。好书，凡家之衣帛皆书，而后练。尤善章草，书出诸杜度。崔瑗云：‘龙骧豹变，青出于蓝。’又创为今草，天纵龙异，率意超旷，无惜是非。若清涧长源，流而无限，萦回崖谷，任于造化。至于蛟龙骇兽，奔腾拏攫之势，心手随变，窈冥而不知其所知，是谓达节也已。精熟神妙，冠绝古今，则百世不易之法式。不可以智识，不可以勤求，若达土游乎沉默之乡，鸾凤翔乎大荒之野。韦仲将谓之草圣，岂徒言哉！遗迹绝少，故褚遂良云：‘钟繇、张芝之迹，不盈片素。’韦诞云：‘崔氏之肉，张氏之骨。其章草《金人铭》，可谓变化至极。’羊欣云：‘张芝、皇象、钟繇、索靖，时并号书圣。然张劲骨丰肌，德冠诸贤之首。’其斯为当矣。其行书则二王（王羲之、王献之）之亚也。又善隶书。以献帝初平中卒。伯英章草、行入神，隶书入妙。”
妙品。卫夫人，名铄，字茂猗。廷尉展之女，弟恒之从女，汝阴太守李矩之妻也。隶书犹善规矩。钟公云：‘碎玉壶之冰，烂瑶台之月，宛然芳树，穆若凌风。’右军（王羲之）少常师之。永和五年卒，年七十八。子充为中书郎，亦工书。先，有扶风马夫人，大司农皇甫规之妻也。有才学，工隶书。夫人寡，董卓聘以为妻，夫人不屈，卓杀之。”
能品。卢藏用，字子潜，京兆长安人。官至黄门侍郎。书则幼尚孙（过庭）草，晚师逸少（王羲之）。虽阙于工，稍闲体范。八分制，颇伤疏野。若况之前列，则有奔驰之劳。如传之后昆，亦有规矩之法。子潜隶、行、草入能。”
Regarding the three qualities of Shen, Miao and Neng, by what standards they should be evaluated, it seems elusive after reading the above three examples. Let’s take a look at what he said in his general comments after the third product. The general review roughly stated the following points: 1. "The greatness can be described in words"; 2. "Equal saints and equal depth, each has his own best"; 3. "From the bottom to the bottom when the skills are achieved, and the top to the top when the virtues are achieved."
We say that the evaluation of calligraphy is a matter of appreciation of calligraphy and an aesthetic evaluation. It is a feeling of beauty, a comment after feeling it. We read these three examples and saw that the comments by Zhang Huaiguan and other calligraphers all expressed their personal feelings about beauty. Calligraphers writing books are creations, and reviewers reviewing books are also creations.
Zhang Huaiguan said: "Those who have a deep understanding of calligraphy can only see the spirit and not the shape of the characters. If you are careful and mysterious, there will be no trace of the things left behind, so why not make sense." ("On Characters") This means that people who have a deep understanding of calligraphy, It is not just about focusing on the shape of the fonts, but more importantly, how to examine the inner spirit of the book, that is, the dots, lines, spaces, layout, and composition of the book give people a sense of weight, strength, rhythm, and life, etc., and feel its brilliance. , charm, artistic conception. This aesthetic vision and measure are like a particularly sophisticated and spiritual mirror. Is there anything that cannot be reflected, reflected, or penetrated? How can the evaluation of calligraphy works not be "tactful" ("Calligraphy Appraisal")? His feelings and comments about the beauty of calligraphy art are correct.
Chinese characters are composed of movement changes of dots and lines. The movement of dots and lines is the movement exerted by the calligrapher's brush on the paper. Changes such as clicks and pauses, priorities, circles and folds, black and white separation, arrangement and combination, etc. are all caused by the calligrapher's will and are all changes made by the calligrapher. The traces of comprehensive qualities such as thoughts, emotions, knowledge, and cultivation. Therefore, this point line is both "static" and "dynamic". Only those who are "deeply knowledgeable in calligraphy" can appreciate the spiritual power of the author through the dots and lines of ink condensed on the paper and the white and white lines of ink and cloth between the lines. The cursive calligraphy of Zhang Zhi, a calligrapher who is "the best in ancient and modern times", in the eyes of many "knowledgeable calligraphers" in ancient and modern times, can feel that "if a clear stream has a long source, flows infinitely, lingers back in the cliff valley, and is at the mercy of nature"; if A wise man travels in the land of silence, and a luan and a phoenix soar in the wild wilderness." At the same time, only great calligraphers who are "unparalleled in ancient and modern times" can infuse the insights of life into the bottom of their wrists and the tips of their pens, and reveal them between the lines, thus creating immortal works. A mediocre person cannot write good works, nor can he tell whether the work is good or bad. What’s the point? Zhang Huaiguan said metaphorically: “It’s like the eight trigrams are arranged in rows, and the eight tones are harmonious. People who are deaf and blind don’t know what it means. "
The process of feeling the beauty of calligraphy is a process of weighing "reason" and moving "emotion". "Principle" can have a conventional standard, but "emotion" is often not completely consistent. The sentiments of the reviewer will be inconsistent with the sentiments of the author, and the sentiments between reviewers will not be consistent. Therefore, Zhang Huaiguan said in the opening chapter of "Book Review": "One taste is different, and the five tastes are different; the different sounds are pronounced, and the deeds are lost. All kinds of things follow each other, and they may be added to each other. The taste of Kuang Shu is unbiased. Really? If we compare it to the smallest detail, who can verify it accurately? It can be said that it is very accurate." This argument is also very pertinent.
The standards for appreciating and evaluating Chinese calligraphy and painting are often the same. Zhang Huaiguan wrote "Book Break" and "Hua Break". "Hua Break" is also divided into three categories: Shen, Miao and Neng. He is also the earliest proposer of the theory of three categories of Chinese painting. Unfortunately, "Hua Duan" has been lost for a long time, and its essays can only be found in Tang Zhang Yanyuan's "Records of Famous Paintings in the Past Dynasties". Zhu Jingxuan of the Tang Dynasty also quoted his theory of three grades in his "Preface to the Famous Paintings of the Tang Dynasty". Zhang Huaiguan's "Three Grades Theory" of calligraphy and painting has far-reaching influence. There have been many subsequent critics, but his Three Grades Theory is still the simplest.
The Qing Dynasty's "Guochao Shupin" lists five grades: Shen, Miao, Neng, Yi and Jia. Bao Shichen's interpretation is: "Peaceful, simple and pure, brilliant and natural, it is called a divine product. It is fermented without traces, horizontal and vertical, and is in harmony, it is called a wonderful product. After tracing the traces to the source, thinking and thinking, it is called an Nengpin. Chu tune sings from itself, Those who do not stray from elegance are called Yipin. Those who adhere to the signs of elegance and elegance are called Jiapin. "The five grades Bao mentioned here are roughly summarized as follows compared with Zhang Huaiguan's three grades: Bao's Yipin is approximately equivalent to Zhang's divine grade; Bao's divine grade The top grade and wonderful grade are about the same as Zhang's fine grade; the high grade and fine grade of Bao are about the same as Zhang's fine grade. In this way, our standards for Zhang’s three qualities of Shen, Miao and Neng are roughly as follows: Shenpin, “The perfect method is made in heaven, and the charm is transcendent”; Miaopin, “The wonderful method comes from the heart, and the spirit is natural”; Nengpin, “The perfect method is in the chest, "Follow every trace and watch for signs."
In "Commentary on Shujuanzhu", Zhang Huaiguan said that he "study has gradually become more and more knowledgeable, and he is still able to repair strange things, and there are many things that he has not yet exhausted." Lord, to develop his talents; if he doesn’t meet a close friend to promote his career, it’s because he doesn’t know.” "And if you hold on to extraordinary talents and solitary qualities, they will not be allowed to exist in the world, or they will have no roots. Therefore, Confucius said: 'There are many people who are erudite and profound in planning but have not met them! How can I be alone?' However, knowledge is valuable, behavior is hidden, and behavior is taboo. It is so bright and clean that even the most obscure traces can be known to all?" This sigh is true.
At the back of the copy of "Shuguan" in the Taizhou Library is a brief review of "Shuguan" by Zhao Xun. Comparing "Shu Duan" to "the system of the great "Yi"" and "the canon of the Spring and Autumn Annals", he pointed out that "there are things written in ancient times that cannot be commented on, and things that can be commented on cannot be written down. Today's books are also unified in the three beauties." And Jueju, which makes a family prosperous by itself. Although it was not written by Confucius and Father. This book is also a book that unifies the three beauties and Jueju, which makes a family prosperous by itself. Although it was not published by Confucius, it is still a colleague of Qiu Ming. How great! How great! "Zhang Huaiguan's "Book Break" is indeed a masterpiece of book criticism that will be remembered forever in the history of calligraphy. It will always provide guidance and inspiration to readers, and will be read frequently.
