非草书——————————————————————————

   余郡士有梁孔达、姜孟颖者，皆当世之彦哲也，然慕张生之草书过于希孔、颜焉。孔达写书以示孟颖，皆口诵其文，手楷其篇，无怠倦焉。于是后学之徒竞慕二贤，守令作篇，人撰一卷，以为秘玩。余惧其背经而趋俗，此非所以弘道兴世也；又想罗、赵之所见嗤沮，故为说草书本末，以慰罗、赵、息梁、姜焉。

   窃览有道张君所与朱使君书，称正气可以消邪，人无其畔，妖不自作，诚可谓信道抱真，知命乐天者也。若夫褒杜、崔，沮罗、赵，忻忻有自臧之意者，无乃近于矜伎，贱彼贵我哉！夫草书之兴也，其于近古乎？上非天象所垂，下非河洛所吐，中非圣人所造。盖秦之末，刑峻网密，官书烦冗，战攻并作，军书交驰，羽檄纷飞，故为隶草，趋急速耳，示简易之指，非圣人之业也。但贵删难省烦，损复为单，务取易为易知，非常仪也。故其赞曰：“临事从宜。”而今之学草书者，不思其简易之旨，直以为杜、崔之法，龟龙所见也。其*扶拄挃，诘屈龙乙，不可失也。龀齿以上，苟任涉学，皆废仓颉、史籀，竟以杜、崔为楷；私书相与之际，每书云：适迫遽，故不及草。草本易而速，今反难而迟，失指多矣。

   凡人各殊气血，异筋骨。心有疏密，手有巧拙。书之好丑，可为强哉？若人颜有美恶，岂可学以相若耶？昔西施心疹，捧胸而颦，众愚效之，只增其丑；赵女善舞，行步媚蛊，学者弗获，失节匍匐。夫杜、崔、张子，皆有超俗绝世之才，博学馀暇，游手于斯，后世慕焉。专用为务，钻坚仰高，忘其疲劳，夕惕不息，仄不暇食。十日一笔，月数丸墨。虽处众座，不遑谈戏展画地，以草刿壁，臂穿皮刮，指爪摧折，见鳃出血，犹不休辍。然其为字，无益于工拙，亦如效颦者之增丑，学步者之失节也。且草书之人，盖伎艺之细者耳。乡邑不已此较能，朝廷不以此科吏，博士不以此讲试，四科不以此求备，征聘不问此意，考绩不课此字。善既不达于政，而拙无损于治，推斯言之，岂不细哉？夫务内者必阙外，志小者必忽大。俯而扪虱，不暇见天。天地至大而不见者，方锐精于虮虱，乃不暇焉。

   第以此篇研思锐精，岂若用之于彼圣经，稽历协律，推步期程，探赜钩深，幽赞神明，览天地之心，推圣人之情。析疑论之中，理俗儒之诤。依正道于邪说，侪雅乐于郑声，兴至德之和睦，宏大伦之玄清。穷可以守身遗名，达可以尊主致平，以兹命世，永鉴后生，不亦渊乎？

[注]赵壹，东汉光和间辞赋家。字元叔，汉阳西县(今甘肃天水南)人，灵 帝时为上计吏入京。所作《刺世疾邪赋》，表现了对当时奸邪当道、政治黑 暗的不平。原有集，已失传。
   《非草书》一篇，专抨击草书。其时草书渐行，赶壹欲仍返于苍颉、史 籀，此事势所不许。故其文虽传，其说终不能行。《法书要录》、《书苑菁 华》等俱载此文。 　

附录——————————————————————————

赵壹与《非草书》

何永胜

摘  要：《非草书》是东汉灵帝时辞赋家赵壹所作的一篇赋文，历来对其褒贬不一，要真正的理解《非草书》还应该从他所处时代的社会背景、文化背景以及赵壹本人的性情和处世的态度，将其还原到应有的历史背景之中去，才能理解他当时写这篇赋的真正的动机和目的。
关键词：草书  鸿都门学  社会背景  文化背景  书写材料

    对于《非草书》，我们一般认为它是最早论及书法的对草书进行非议的一篇赋文，文中对草书产生的渊源作了客观的、理性的分析，对当时的习草之风之盛也作了生动形象的描述，并对这一流行时风予以了尖锐的批评，阐述了他对草书的认识和持有的态度。对后来的书法理论的形成与发展起了极大的推动作用。后世对此篇的评价褒贬不一，以非议居多，或认为赵壹缺乏书法艺术的素养，根本不理解草书，更不应该对草书横加指责；或认为他是切实的实用主义和功利主义者，否定了艺术的种种功用；或以是篇的生动描述为据，而作为书法艺术自觉化的重要标志……。我认为要真正理解《非草书》，就必须了解他所处时代的社会背景、文化背景以及赵壹本人的性情和处世的态度，将其还原到应有的历史背景之中去，才能理解他当时写这篇赋的真正的动机和目的。此外，该文给予我们的一些信息，也是我们应该挖掘和做整体考察的。
社会政治背景与《非草书》
（一）
    汉王朝吸取了秦灭亡的教训，极力主张“反秦之弊，与民休息”的“文治”政策。国家发展的重点是放在经济和文化上。这在很大程度上促成了文字的普及和文化的繁荣。秦以前，文字的主宰多是一些达官贵人与皇亲国戚们的专利，普通的老百姓是享受不到文化教育的权利的，文字对于他们来说是十分神秘的而又难以琢磨的东西。秦代虽然对六国文字予以了统一，对文字的发展与传播也起了一定的推动作用，但“焚书坑儒”对于文字与文化的传播所造成的灾难，以及对后世文化人所造成的一种对文化恐惧性的心理是难以抹去的。汉皇帝的“文治”为文化和文字的重新繁荣提供了丰厚的土壤。加以汉皇帝对吏民的文化素质提出了更高的要求，据《汉书•艺文志》记载，“汉兴，萧何草律，亦着其法曰：太史试学童，能讽书九千字以上乃得为史。文以六体试之，课最者以为尚书、御史史书令史。吏民上书，字或不正辄举。”对选吏和吏民上书书写的严厉要求，使得人们在文字书写的规范上和书写的准确上必须是使用的当时的正体——隶书。
    汉武帝还设立学官五经十四博士，诵讲今文经典。由于这种经典是供官办太学讲授所用，文字内容的庄重性和严肃性更要求书写必须精确、规范。
    这种对于文字和书写的态度与风尚，无疑与后来时人竞以张芝、崔度为尚，争习草书，形成了鲜明的对照。赵壹认为草书“上非天象所垂，下非河洛所吐，中非圣人所造”。草书的产生只是“盖秦之末，刑峻网密，官书烦冗，战攻并作，军书交驰，羽檄纷飞，故为隶草，趋急速耳，示简易之旨。”从草书的产生上看，既不是仓颉、史籀所造的具有深刻的文字学意义的圣人之书，也不是可以用来书之于典册经籍、施之于国政的实用性的书体。对于文字之用，儒学之士是十分讲究文字的渊源关系的，这既是对于先贤创用文字的一种敬畏与崇拜，又是儒家思想对于文化及文字的发展讲究寻根探源的一种固有的学术态度。可以说这是赵壹之所以“非草”，认为“草”无益于政，也无益于“小学”的一种纯植根于注重渊源关系的“崇古反今”和“书之为用”的思想根源。
（二）
    “党锢之祸”与“鸿都门学”是促使赵壹“非草”的直接动因。
    汉灵帝对“鸿都门学”的设置，从表面上看是招引善为文赋的太学生，实质上是灵帝为招揽自己的政治势力，在乐松、贾护等这么一批亲信陪侍其左右，而为朝廷方面培植的一股重要的政治势力，鸿都门学正是在他们的具体操持下设置的。在招揽的过程中，是由灵帝的亲许，而在宦官的操纵下所出现的一种事与愿违的、有违朝廷正常人事选拔的所谓的文艺人才的一种征选。
    尽管灵帝置“鸿都门学”的初衷是在于对文艺人才的擢升与选拔，由于曹节、王甫等宦官及鸿都门待制诸生如乐松、贾护等人的直接参与与利用，演变成为一种与太学、清流人士等相对立的、活跃在政治舞台上的政治斗争的工具。
    鸿都门生大多出身于寒门,原本没有什么权力基础,更谈不上什么政治远见和治国方略，仅凭一技之长步入朝廷,很难独自发挥政治作用,因而他们一味地谄媚于灵帝,依从灵帝的意愿,甚至与宦官团伙同流合污,严重地败坏了朝廷政治，倾压、迫害“指责宦官当权”的清流名士和太学士，干预、危害着国家的正常发展。
从“党锢之祸”一直延续到黄巾起义，宦官当权，对政治的残暴践踏和干预最终导致了汉王朝的覆灭。
    在此期间，针对鸿都门学带来的种种弊端，不少的正义之士，面临着被逐放和杀戮的危险，曾多次上书，与宦官集团作了尖锐的斗争。其中如：光禄大夫杨赐、议郎蔡邕、尚书令阳球等人,借着各种灾异的出现,或提出严厉的批评,或提出合理的建议,表达了他们各自的观点。
    在赵壹的《非草书》中虽然没有明确地提出争对鸿都门学的言辞，但在其正处于尖锐的集团政治斗争面前，对于草书的非议和对习草者严厉的指责，无疑也是一个十分敏感的话题。因而，在官职不大（灵帝光和元年，仅为上计吏），敢于直言和豪放不羁的赵壹身上，这自然是十分难能可贵的。在是篇中，赵壹以其精辟的分析和严密的论证，对于趋附于权贵与时尚的习草者予以了尖锐的批判。如果脱离了赵壹所处时代的政治背景，可以说这是一篇赋文是完全针对于习草时风的，但对敢于直刺时弊，负有远大抱负的赵壹来说，去作一篇完全不带有政治色彩是“闲文野赋”是不太说得过去的。我们可以从他的《穷鸟赋》、《解摈》和《刺世疾邪赋》等赋文中窥见其愤世嫉俗的耿直性情和胸怀大志的远大抱负。
    《非草书》一文中虽然没有直刺鸿都门学，但文中所隐然所指的与败坏朝风的所谓的“辞赋书画”是直接相关联的。这一点，我们在赵壹行文的风格上可见一斑。
    在与鸿都门学等宦官集团的斗争中，清流名士上书的观点在对于“辞赋、书画为小道”上，其文辞都有着惊人的相似。
    蔡邕在《上封事陈政要七事》中认为“夫书画辞赋，才之小者，匡国理政，未有其能……昔孝宣会诸儒于石渠，章帝集学士于白虎，通经释义，其事优大，文武之道，所从宜之。若乃小能小善，虽有可观，孔子以为‘志远则泥’，君子固当志其大者。”
    在《对诏问灾异八事》中说“则上方技巧之作，鸿都篇赋之文，宜且息心，以示忧惧。”[1]
    灵帝的老师杨赐也上书说：“……又鸿都门下，招会群小，造词作赋，以虫篆小技见宠于时，……”[2]
    尚书令阳球更是直言尖锐，他说：“案松、览等皆出于微蔑，斗肖小人，依凭世戚，附托权豪，俯眉承睫，徼进明时。或献赋一篇，或鸟篆盈简，而位升郎中，形图丹青……未闻竖子小人，诈作文颂，而可妄窃天官，垂象图素者也。今太学、东观足以宣化圣明。愿罢鸿都之选，以消天下之谤。”[3]
    这些文辞的相近显然不是偶然的。在同一社会背景下，他们在政治立场上是具有一致性的。只是《非草书》一文更为隐含一点而已，没有把矛头明确地指向鸿都门学，这与当时严酷的“党锢之祸”政治涡流紧密相关，也与赵壹身份和地位的低下是有直接关联的。能在这种紧张的政治风暴中，直刺时弊，表现出了赵壹耿直、凛然的正气和非凡的笔墨驾驭能力。完全可以说，《非草书》一文是具有明显的政治倾向的，而且行文中的描述也是具有汉赋显着的夸张性的特点的。这也是我们为“习草之风盛行”、“书法自觉的标志”等现象的论据引用时，至少是应该予以慎重考虑的。
    在鸿都门对以辞赋书画为能的人才的招用下，并任以官衔，或为尚书，或为侍中，或为中书令等职，这种不合常理的、有违正常科举的人才征用制度，大大地刺激人们对于书画辞赋专用为务的趋附心理，上行下效，蔚然成风。
    赵壹的《非草书》就是针对那些“专用为务，钻坚仰高，忘其疲劳，夕惕不息，仄不暇食。十日一笔，月数丸墨。虽处众座，不遑谈戏展画地，以草刿壁，臂穿皮刮，指爪摧折，见鳃出血，犹不休辍。”趋附于朝廷征选的、专走“终南捷径”那些屑小之徒的。
    在这里，赵壹的批判是具有明确的针对性的，他之所以在肯定了张芝、崔瑗、杜度的同时又严厉地批判了学草者的“专用为务”的学草行为。我认为是非常必要的，无论是从艺术的角度，还是从儒家“弘道兴世”的思想上，都是具有相当的远见卓识的。单从艺术的角度看，那些所谓的赵壹是以“实用的艺术观”来看待草书以及赵壹非议草书是因为其历史的局限性，而没有看到草书对于人们的艺术魅力等等诸多观念，是忽略了赵壹主要是争对那些，一没有学养、二没有灵性的一味趋炎附势，亦步亦趋的、充斥着满脑子的功利思想的习草者而言的，从他提出的“凡人各殊气血，异筋骨。心有疏密，手有巧拙。书之好丑，可强为哉？”到“夫杜、崔、张子，皆有超俗绝世之才，博学余暇，游手于斯，后世慕焉。”这种讲究天赋、灵性与博学的艺术观，表现出来的是心性的自然流露，是博学余暇之后的学力积累的一种体现。他的这种艺术观的表达是十分清晰和明确的。仅这点无论是在当时，还是在艺术空前繁荣与发展的今天，都有着重要的进步意义和借鉴意义。

    文化背景与《非草书》
    后汉人崇尚儒学。在以道德和学问为双重基础的儒学定位下，学问与技能都被二分为高低、贵贱、大小，技能被斥为小道，一直由来已久。
    《论语•子张》子夏曰：“虽小道，必有可观焉，致远恐泥，是以君子不为也。” 技能性的，被认为是小道，认为是浅显、鄙俗，价值有限而不值得看重的一种。所谓“德成而上，艺成而下”所表白的就是这种“重大道，轻小术”的典型的儒家文化意识。
    在国家的社会意识形态的统一下，汉代人的学习主要限于儒家经术。“黜罢百家，独尊儒术”，经术作为官方一种公开的思想，是朝廷用以取仕的重要依据，在社会中占据着十分煊赫的位置，士人趋之若骛，为学笃甚。当然，在经术之外，还是允许别有所习的。只不过是有所节制的，是不能背离儒学之大要的。其他的术道只能是作为辅政的一种手段，其功能也无法游离出“政”这一核心。诸如天文、历数、阴阳占候、医术卜噬等。
    后汉的这种“重儒术、轻艺道”的思想是十分普遍而公开的。
    《后汉书•窦融传》载：窦融上疏曰：“有子年十五，质性顽钝。臣融朝夕教导以经艺，不得令其观天文、见谶记。诚欲令恭肃畏事，恂恂循道，不愿其有才能。”
    王充称巧习、技能诸事为“小贱之能，非尊大之职。”、“大道未足，而小伎过多。”[4]
    仲长统在《昌言》中轻蔑地说：“故知天道而无人事者，是巫医卜祝之伍，下愚不耻之民也。”
    针对草书风气炽盛这一现象，赵壹的看法是承绪传统的儒家观点的，士大夫的使命在于精通圣人经典，“穷则守身遗名，达可以尊主致平”,这才是士大夫的大业。对草书的痴迷无疑是与儒家重经、兴世弘道思想相叛离的，只是一种世俗之人所追求的雕虫小技而已。
    这应该是赵壹所处时代的大的社会、文化背景所决定的。世人所习的草书，也只是“技艺之末”，是无益于“治”的俗学小道。是与现实的、重大的政治功用相背离的，是不值得人们朝夕操持、用精致力的。“齐国治天下”，经术之于政治、功业是士人应该去且值得花毕生之精力去学习的。于此，赵壹认为“夫务内者必阙外，志小者必忽大。俯而扪虱，不暇见天。天地至大而不见者，方锐精于虮虱，乃不暇焉。”
    针对这种因小失大、务内阙外、不务正业的肖小之道，充其量只能是政事之余的业余消遣，而不应该成为士大夫之族成就功业的障碍，不应该在他们的社会政治生活中公开地占据地位。明经善政、匡国平治是士大夫的第一要务，而是否符合经术，是否有益于政道成为判定一切事物的尊卑、大小、高下的唯一标准。
    在现实的社会面前，对那些通过辞赋书画这条终南捷径入仕的，根本不具备明经善政之才，相反只会搬弄是非、残害忠良，却位居庙堂之上的屑小之徒，赵壹是嗤之以鼻、深恶痛绝之的；同样，对那些企图通过此捷径而在劳神费思、竭智尽虑的人们也给予了当头棒喝，晓之以大义，明之以要理，在国家衰微、汉室倾颓的危急存亡之秋，“国家兴亡，匹夫有责”的责任感是一个文化人必须肩负的，“家事”、“国事”，孰轻孰重，不辩自明。

    草书的民俗化因素
    从文字的普及和文化的传播上看，书体的使用一直是依附于文字的功用的而贯穿于文字的发展和演化的。文字的广泛使用促成了书体的分化与演进，可以说正是基于“文字之为用”的这种文字本身与生俱来的民俗基因，推动了书法艺术的形成。
    书体演化的最为剧烈和彻底的时期正是赵壹所处的这一特殊时期，书法正以一种艺术的形式从早期的交织发展，逐渐从日常的书写应用当中剥离开来，并一直与文字的书写相互补充、相互约束而交相发展。这使得书法的艺术性表现因其独特的艺术表现力，在纯艺术的理论思想指导下得以提升，而文字的书写应用也因其功用的不同融入了不同的、或多或少的艺术因素，并从中获得稳定的艺术审美元素，从而达到雅俗共赏，但又不失去其实用性的社会功用。二者完全是一种共生的联合体，一方面，文字的艺术性是与生俱来的，在长期的演化与应用中，由于文字的民俗因素和中华民族延绵不绝的、强大的民族生命力，以及华夏民族天生的一双审美的眼睛，赋予了文字超强的艺术生命力和丰富的艺术表现力。这种艺术性在文字的发展、演变过程中，通过不断的承续与积淀，升华、发散而形成异彩纷呈的艺术表现形式。对于浩瀚如烟的古人书写遗迹，我们很难通过它所蕴涵的艺术表现来界定它到底是属于艺术创作，还是实用书写。
    另一方面，从书写到书法艺术的表现，都具有一种与其他文化艺术特殊的、坚韧的亲和力。从艺术创作的观念上来看，创作与实用性的书写相互揉杂、生发，反映出书法艺术的独特的、广泛的、复杂的文化因素。这也是为什么中外学者一直认同“书法是中国传统文化的核心的核心”的根源之所在。
    从赵壹的《非草书》中考察，从草书的技巧的复杂化到对名人草书的仰慕与摹习，虽然有汉赋的夸张成份在，但从“匆匆不暇草书”与“今反迟而难”“其扶拄挃，诘屈乙”正是书法从实用性走向艺术化的一个显着时期。这种汉文字本身所具有的较强的普及性和亲和力的民俗性基因，是汉文字所独有的并赖以持续发展，呈现出丰富多彩的艺术特质的生命本原。
    其中书写材料改变是催生作为艺术形式的草书又一重要因素。
    从秦八书到汉六书，从甲骨文到金文、籀文，再到小篆、隶书，书体的演变无不与书写（或类书写）的材料和文字的功用密切相关。书写工具与书写材料，加上文字的民俗基因，决定了文字的表现具有丰富的可塑性与延展性。在以实用性为基调的文字演化过程中，从书写到识记整体上始终是贯穿着由繁到简、由难到易的发展规律的。其中，书写材料的更替与广泛的介入直接影响着、推进着书体的嬗变。
    从战国末期到西汉末期简牍缣帛作为主要的书写材料催生出字体扁宽、书写便捷的隶书书体的产生。形扁，在单行书写的简牍上，因简与简之间形成自然的间隔，故既醒目又容量大，满足了较大量的文字书写要求，又能达到阅读者清楚易识的目的。
    碑刻作为书写媒介的引入，使得以单行主要表现形式的简牍式的书写一下变得开阔起来，(这里我们还可以从西汉到东汉早期简牍式的碑刻向东汉)行与行的联系给书法艺术的表现提供了新的形式。尽管我们看到的所有碑刻的铭石书体还只是局限在隶书上，但隶书（铭石书体）的字距大、行距小的行与行的痛痒相关(包括行间字与字的收放、穿插、揖让等技巧的运用)便足以说明了大的书写空间给书写整体所带来的刺激与思考。这也是草书得以滋生和发展的一个不可忽视的重要因素。
    如果说碑刻作为一种整体空间形式，激发了书写者对书写章法的探索。那么题壁书法的盛行与纸张的产生，则是草书得以发展并与实用性的书写逐步分离的催化剂。题壁书法的目的十分明确——展示艺术个性与艺术魅力，(关于题壁书法，可以参阅侯开嘉先生的《书法史新论》一书)从师宜官、陈遵等人的题壁行为和影响来看，题壁书似乎已深入人心，有着极大的群众基础。况且这种大块面的题壁书写，其最适宜表现的书体就草书。
    草书从产生与发展，其最初只是作为快捷书写的，运用于下层官吏的一种便捷的书写形体，到逐步的演化成为艺术技巧丰富细腻，表现形式复杂多变，最能体现书家书写情趣和书写情感的一种书体，这可能是赵壹怎么也没有想到的。
    艺术之与政治，书法作为艺术的特殊形式的一种，由于其天生的与实用书写共生式的交互影响，又因为其具有广泛的群众基础，因政治的功用性的干预使得书法艺术在其发展过程中无论是字体和书体，甚至书法的审美取向等影响应该是十分巨大的。在我们艺术发展相对自由的今天，书法艺术应该说与实用性的书写也早已呈相离之势，书法艺术呈“百花齐放，百家争鸣”的可喜局面，书法艺术的学科化、科学化也势必会促进书法艺术健康、稳定的向前发展。当然这正是我们大家所共同企盼的。

注释：
[1]《后汉书•蔡邕传》
[2]《后汉书•杨赐传》
[3]《后汉书•酷吏列传》
[4]王充《论衡•量知》

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本文为《岳安杯第一届国际书法论坛论文集 》集三(获奖论文)三等奖论文
转自中国书法美术网
资料仅供学习参考，如需引用，请与作者本人联系，谢谢！

Non cursive script Liang kongda and Jiang Mengying were among Yu's magistrates. However, they admired Zhang Sheng's cursive script too much. Kong Da wrote a book to show Meng Ying. They all recited his text and wrote his articles in regular script without fatigue. So the disciples of later learning competed to admire the two sages, kept the order and wrote an article. They wrote a volume as a secret play. I'm afraid that I'm going to be vulgar by reciting the Scriptures. This is not why I promote the Tao and prosper the world; He also thought about what Luo and Zhao saw, so he said the end of cursive script to comfort Luo, Zhao, Xi Liang and Jiang Yan. There is a book written by Zhang Jun and Zhu envoy Jun, saying that good Qi can eliminate evil. People have no bank, and demons do not do it by themselves. Sincerity can be described as faith, truth and happiness. If Fu praises Du, Cui, Ju Luo, Zhao, Xin Xin, those who have the meaning of self concealment are all close to reserved skills, cheap and expensive! Is the prosperity of Fu cursive writing ancient? The upper part is not hung by the heavenly phenomena, the lower part is not vomited by Heluo, and the middle part is made by saints in China and Africa. At the end of the Qin Dynasty, the punishment was severe, the net was dense, the official books were cumbersome, the war and attack were carried out simultaneously, the military books were crossed, and the feather calls were flying. Therefore, it was a subordinate grass, hastened to the ear, showed a simple finger, and was not the industry of saints. However, it is difficult to save trouble when you delete, and the loss is made into a single. It is easy to know when you take it, which is very important. Therefore, he praised it and said, "when things are temporary, they should follow suit." Today's learners of cursive calligraphy do not think about its simple purpose, but think that the method of Du and Cui is what the turtle and dragon can see. It must not be lost by supporting the index and heckling dragon B. Above the teeth, Gou Ren was involved in learning. Cangjie and Shi Zhen were abandoned, and Du and Cui were regarded as regular script; When private books meet each other, every book says: it is urgent to adapt, so it is not as good as grass. Herbs are easy and fast, but now they are difficult and late. There are many lost fingers. Mortals have different Qi and blood, different muscles and bones. The heart is dense, and the hand is skillful and clumsy. How ugly is the book? Is it strong? If a man's face is beautiful and evil, can he learn to look like Jesus? In the past, Xi Shi's heart rash, holding his chest and frowning, all fools had the effect of only increasing his ugliness; Zhao Nvshan is good at dancing, walking with charming insects, scholar Fu Huo, disjointed and creeping. Fu Du, Cui and Zhang Zi all have extraordinary talents. They are erudite in their spare time and are admired by later generations. Dedicated to work, drill hard, forget their fatigue, keep alert at night, and have no time to eat. Ten days a pen, months a pill ink. Although he was in many seats, not to mention the scene of the play exhibition, he used grass to cut through the wall, his arms were scraped through the skin, his fingers and claws were broken, and he continued to stop when he saw gill bleeding. However, it is a word, which is not conducive to clumsiness. It is also like adding ugliness to those who imitate, and disdain to those who learn to walk. And cursive people cover the ears of those with fine skills. The township and city are more capable. The imperial court does not take this as a subject official, the doctor does not take this as a test, the four subjects do not take this as a preparation, the recruitment does not ask this meaning, and the performance evaluation does not take this word. Since good is not in politics, but bad is not in governance, isn't it detailed in Tyrus's words? Those in the husband's affairs will be absent, and those with small ambition will suddenly be big. You can't see the sky when you lean down and touch the lice. If the heaven and earth are too big to be seen, Fang Rui is proficient in lice, but he has no time. In this chapter, we study and think about the essence. How can we apply it to the Bible, check the calendar and laws, push forward the schedule, explore the depths of the earth, praise the gods, see the heart of heaven and earth, and push the feelings of saints. In the theory of dispelling doubts, there is a debate between reason, custom and Confucianism. In accordance with the right way and the heresy, peer Ya is happy to Zheng Sheng, promote the harmony of morality and the Xuanqing of great ethics. If you are poor, you can keep your name, and if you reach your goal, you can respect the Lord and bring peace, so that you can live in the world and learn from future generations forever. Isn't it also the abyss? [note] Zhao Yi is a poet of Hejian in East Han Dynasty. Uncle yuan was born in West County of Hanyang (now Tianshui south of Gansu Province). He was a top planning official when Lingdi came to Beijing. His "Fu of stabbing the world, disease and evil" shows his injustice against the treachery and political darkness at that time. The original episode has been lost. "Non cursive script" is an article that specifically criticizes cursive script. At that time, cursive writing was gradually going, and I still wanted to return to Cangjie and Shi Zhen, which was not allowed. Therefore, although his text is passed on, his words can not be carried out in the end. "Records of Dharma books" and "elite of the library" all contain this article. Appendix Zhao Yi and he Yongsheng in non cursive script Abstract: non cursive script is an essay written by Zhao Yi, a poet in the Lingdi period of the Eastern Han Dynasty. It has always been praised and criticized. To truly understand non cursive script, we should also start from the social and cultural background of his time, as well as Zhao Yi's temperament and attitude towards life, Only by restoring it to its due historical background can we understand his real motivation and purpose of writing this Fu at that time. Key words: Hongdu School of cursive script social background cultural background writing materials for non cursive script, we generally believe that it is the first Fu article that discusses calligraphy and criticizes cursive script. The article makes an objective and rational analysis of the origin of cursive script, vividly describes the prosperity of cursive learning at that time, and sharply criticizes this popular trend, This paper expounds his understanding and attitude towards cursive script. It played a great role in promoting the formation and development of later calligraphy theory. Later generations have different comments on this article, mostly criticism, or think that Zhao Yi lacks the quality of calligraphy art and doesn't understand cursive script at all, let alone criticize cursive script; Or think he is a practical pragmatist and utilitarian, denying all kinds of functions of art; Or based on the vivid description of this article, as an important symbol of the self-consciousness of calligraphy art. I think to truly understand the non cursive script, we must understand the social and cultural background of his era, as well as Zhao Yi's temperament and attitude towards life, and restore it to its due historical background, so as to understand the real motivation and purpose of his writing this Fu at that time. In addition, the article gives us some information that we should explore and make an overall investigation. Social and political background and non cursive script (I) the Han Dynasty learned the lessons of the demise of the Qin Dynasty and strongly advocated the "cultural governance" policy of "opposing the disadvantages of the Qin Dynasty and resting with the people". The focus of national development is on economy and culture. This has contributed to the popularization of writing and the prosperity of culture to a great extent. Before the Qin Dynasty, the dominance of words was mostly the patents of some dignitaries and royal relatives. Ordinary people could not enjoy the right of culture and education. Words were very mysterious and elusive for them. Although the Qin Dynasty unified the characters of the six countries and played a certain role in promoting the development and dissemination of characters, it is difficult to erase the disaster caused by "burning books and burying Confucianism" for the dissemination of characters and culture and the fear of culture caused by later generations of cultural people. The "rule of culture" of the Han Emperor provided rich soil for the re prosperity of culture and writing. In addition, the emperor of the Han Dynasty put forward higher requirements for the cultural quality of the officials and people. According to the records of Hanshu • annals of Arts and culture, "Han Xing, Xiao He cursive law, also followed its law and said: if the Taishi tries the students, they can satirize the book with more than 9000 words and get the history. The text takes the six body test, and the most people think that the Shangshu and the imperial history book order the history. When the officials and people write the book, the word may be incorrect and often cited." The strict requirements for the selection of officials and the writing of clerical letters made it necessary for people to use the official script, which was the orthodox script at that time, in terms of the standardization and accuracy of writing. Emperor Wu of the Han Dynasty also set up an academic officer, five classics and fourteen doctors to recite modern classics. Because this classic is used for the teaching of government-run Imperial College, the solemnity and seriousness of the text content require that the writing must be accurate and standardized. There is no doubt that Cui's style of writing contrasted with Zhang's style of writing. Zhao Yi believes that cursive script "is not hung by celestial phenomena, not spit by Heluo, and made by Chinese and African saints". The emergence of cursive script is only "at the end of the Qin Dynasty, the punishment was strict and the network was dense, the official books were cumbersome, the war and attack were carried out simultaneously, the military books were crossed, and the feather calls were flying, so it was attached to the grass, hastened to the ear, and showed the purpose of simplicity." From the perspective of the emergence of cursive script, it is neither a saint's book with profound philological significance created by Cangjie and Shi Zhen, nor a practical book that can be used to write scriptures and apply to national politics. For the use of words, scholars of Confucianism pay great attention to the origin of words, which is not only a kind of awe and worship for the creation of words by sages, but also an inherent academic attitude of Confucianism for the development of culture and words. It can be said that this is the reason why Zhao Yi is "not grass" and believes that "grass" is not conducive to politics or primary school. It is a kind of ideological root that is purely rooted in the ideological roots of "advocating the ancient and opposing the present" and "using books" that pay attention to the relationship of origin. （2） "The disaster of Party imprisonment" and "Hongdu school" are the direct reasons for Zhao Yi's "non grass". On the surface, the setting of "Hongdumen School" by Emperor Ling of Han Dynasty is to attract students who are good at literary and Fu. In essence, it is an important political force cultivated by Emperor Ling for the imperial court in order to attract his own political forces, accompanied by a group of confidants such as Lesong and Jia Hu. Hongdumen School is set up under their specific management. In the process of solicitation, it is a kind of recruitment of the so-called literary and artistic talents, which is contrary to the wishes and the normal personnel selection of the imperial court, with the personal consent of the spirit emperor and under the manipulation of eunuchs. Although the original intention of Lingdi's "Hongdu school" was to promote and select literary and artistic talents, due to the direct participation and utilization of eunuchs such as Cao Jie and Wang Fu and students waiting for Hongdu school, such as Le song and Jia Hu, it has evolved into a tool of political struggle against Imperial College and Qingliu people and jumped on the political stage. Most Hongdu students were born in poor families. They had no power base, let alone political foresight and governance strategy. It was difficult for them to play a political role alone by entering the imperial court with their own skills. Therefore, they blindly flattered the spirit emperor, obeyed the will of the spirit emperor, and even colluded with eunuch gangs, seriously corrupted the politics of the imperial court, oppressed and persecuted the elites and scholars who "accused the eunuch of being in power", intervened Endangering the normal development of the country. From the "disaster of Party imprisonment" to the yellow scarf uprising, eunuchs came to power and brutally trampled on and intervened in politics, which eventually led to the collapse of the Han Dynasty. During this period, in view of the various disadvantages brought by Hongdu school, many righteous men faced the danger of being expelled and killed. They wrote letters many times and fought sharply with the eunuch group. Among them, doctor Guanglu Yang Ci, Yi Lang Cai Yong, Shang Shu Ling Yangqiu and others expressed their respective views through the emergence of various disasters, or put forward severe criticism or reasonable suggestions. Although Zhao Yi's "non cursive script" does not clearly put forward the words to fight against Hongdu school, in the face of the sharp group political struggle, the criticism of cursive script and the severe criticism of learners are undoubtedly a very sensitive topic. Therefore, in the official position is not big (in the first year of Lingdi Guanghe, it is only a top planning official), Zhao Yi, who dares to speak frankly and is bold and unrestrained, this is naturally very valuable. In this article, Zhao Yi, with his incisive analysis and rigorous demonstration, sharply criticizes the grass learners who tend to be attached to power and fashion. If it is divorced from the political background of Zhao Yi's era, it can be said that this is a Fu article, which is completely aimed at the wind of learning grass. However, for Zhao Yi, who dares to directly stab the current disadvantages and has great ambition, it is not reasonable to write a "idle prose and wild Fu" without political color. We can see his cynical straightforwardness and ambitious ambition from his fu articles such as poor bird Fu, jiebin and stabbing disease and evil Fu. Although there is no straight line in the article "non cursive script"