Inscriptions from the Shang Dynasty and the Western Zhou Dynasty were generally cast on vessels, and later inscriptions were also carved. Inscriptions continue to evolve into various forms, commonly known as "Zhongding script". In Chinese calligraphy, they are called "籀文", "古文" or "大篆".
The number of inscriptions on bronze vessels varies, and can reach as many as three to four hundred. Generally speaking, the inscriptions in the Shang Dynasty were simple, and in the Western Zhou Dynasty there were many inscriptions. In the Spring and Autumn Period and the Warring States Period, they became simpler. By the Qin and Han Dynasties, bronzes with long inscriptions were rarely found.
The bronze inscriptions used in the early years of the Zhou Dynasty are very similar to the oracle bone inscriptions of the Yin and Shang Dynasties, from strokes to structure. After King Zhao of Zhou Dynasty, the bronze inscriptions of the Western Zhou Dynasty became increasingly mature. Representative works include "Zong Zhou Zhong" written by King Zhou Zhao, "Wall Pan" written by King Zhou Gong, etc. The main characteristics of the bronze calligraphy at this time are:
The strokes gradually become rounded from the shape of a tadpole tail, and the starting, switching, and closing of the strokes are mostly round pens; the structure is flatter, tighter, and more stable than the bronze calligraphy of the early Zhou Dynasty , and more regular. In terms of composition, we began to pay attention to the vertical and horizontal word spacing and line spacing. The inscriptions with bounded lines are more rigorous, while those with larger word spacing and line spacing appear to be very sparse and open.
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What are the characteristics of Wang Xianzhi’s calligraphy?
Wang Xianzhi’s calligraphy throughout his life The art is not old-fashioned, and unlike his father, the character body likes to have a long shape. Wang Xianzhi comes from a well-educated family and is diligent in his studies. His poetry and calligraphy were a rising star in the Eastern Jin Dynasty. His cursive calligraphy is skillful, graceful, and graceful, no less than that of his father Wang Xizhi, and father and son are collectively called the Two Kings. Wang Xianzhi's study of calligraphy, like his father's, was not limited to studying one discipline, but instead connected with various schools and created his own unique style. Finally achieved the same artistic status as Wang Xizhi. The calligraphy includes Song Mi Fulin's "Mid-Autumn Tie" and so on.
Extended information: Anecdotes and allusions: Ink turns into cattle. Once, Huan Wen asked Wang Xianzhi to write on a fan. Wang Xianzhi started writing, but suddenly the pen fell on the fan, staining the words. Wang Xianzhi changed the ink mark into a black horse and cow, and the painting was very beautiful. Wang Xianzhi was sleeping in his study at night. A group of thieves sneaked into the room and stole everything in the room. Wang Xianzhi said slowly: "My thief, the green felt is a relic of my ancestors. I only ask you to keep this felt." The thief fled in panic. During the Taiyuan period (376-396), when Wei De was not long, the Taiji Hall was completed. Xie An planned to ask Wang Xianzhi to inscribe a plaque as a calligraphy treasure to be passed down to future generations. However, it was difficult to say so directly. The craftsmen nailed it up by mistake and could not take it off, so they had to let General Wei Zhong (Wei Dan) stand on the hanging stool to write the plaque. After the plaque was written, his hair turned white and he was so old that he had only one breath left. He returned home and told his descendants that he would never write a plaque in this way again. Wang Xianzhi understood Xie An's intention and said sternly: "General Wei Zhong is a minister of Cao Wei. How could such a thing happen? If it really happened, it would be enough to show that Cao Wei is weak and cannot last long." Xie An stopped pressing him to write an inscription. Baidu Encyclopedia - Wang Xianzhi
23 likes·11,264 views 2019-04-27
Characteristics of Shang Dynasty bronze inscriptions
1. Schematic tendency and production The Yin and Shang Jin calligraphy works we see usually only have one or two characters, and most of them are combined with patterns to form family emblems and other pattern forms. Even if it is a pure text work, the text style will be processed into a pattern style. Especially the works with the word "亚" in them form a square frame, and other characters are generally arranged within the square frame. The patterned features are very strong.
This situation mainly occurred in the middle to late Yin and Shang Dynasties, such as "Mu Wu Ding Ming", "Fu Hao Fang Ding Ming", "Yafang Ding Ming", "Fu Gui Xuan Ming", etc. In these works, most of the text structures are represented as schematic images, and the traces of the pen are mostly modified and processed. Some strokes are even expressed in the form of graphic blocks, rather than what we understand as written strokes. The origins of the forms of these ethnic emblem patterns can even be traced back to the ancient totems of the ethnic groups that correspond to the patterns, so they often reveal a simple, profound, romantic and strange visual effect. In the late Shang Dynasty, the number of inscriptions on bronzes gradually increased, but the length was still within a few words. Long inscriptions like those in the Western Zhou Dynasty still did not appear. The content reflected in the bronze inscriptions of this period was limited to the scope of ancestor worship and inscriptions of merit, such as "Inscription on the Inscription of Xiaochen Yu Zun" and "Inscription on the Inscription of the Second Sacrifice of Bi Qixiao". Among the works of this period, many of the above-mentioned clan emblem patterns and inscriptions appear at the same time, and have not been completely replaced by written text forms, such as "Liu Si Bi Qi Qi Qi Inscription", the lower part of the work It is the emblem of the sub-tapir clan. In the text production of inscriptions, it is often the phenomenon that some text strokes are modified and bolded. This phenomenon has continued to the inscription calligraphy works of the early Western Zhou Dynasty, such as the Shang Dynasty works "Xiao Chen Yu Zun Qi Inscription" and "Er Sacrifice Bi Qi". "Inscription on the Weapon of the Four Sacrifice", "Inscription on the Ding of Guards", and the works of the early Western Zhou Dynasty such as "Inscription of He Zun" and "Inscription on the Ding of the Great Cup". From the brushes used in these works, we can clearly see traces of some strokes being modified and thickened during production. Take "Xiao Chen Yu Zun Qi Ming" as an example: "Ding", "Wang", "Zheng", "You" and other characters are emphasized in writing, while "Si Si Bi Qi Qi Qi Ming" has more Many of the strokes show signs of being retouched. This deliberate thickening of strokes is actually an older form of hieroglyphics and a relic of the evolution of writing. Take the "Er Sacrifice Bi Qi Yao Inscription" as an example. Most of the bold and graffitied parts are of a pictographic nature, such as "ling", "brother", "bin", "阘", "大" and other characters. , its bold strokes clearly reflect the role of pictograms. These clan emblem patterns and the embellishment and emphasis of handwriting shown in the works often become the visual focus of the works, giving the works a layer of mystery, weirdness, fantasy and romance, constituting the commercial style. The unique art form of calligraphy works. 2. Interrelated relationship with oracle bone inscriptions. The Shang Dynasty’s golden calligraphy developed in parallel with oracle bone inscriptions. According to Mr. Li Xueqin's research, judging from the existing writing, bronze inscriptions appeared slightly earlier than oracle bone inscriptions. Bronze inscriptions appeared after Pan Geng moved to the Yin Dynasty, and the oracle bone inscriptions seen today are products from the middle Yin Dynasty. From the perspective of text usage, they belong to the same system and are essentially the same font. However, the later inscriptions are also engraved. Inscriptions continue to evolve into various forms, commonly known as "Zhongding script". In Chinese calligraphy, they are called "籀文", "古文" or "大篆".
The number of inscriptions on bronze vessels varies, and can reach as many as three to four hundred. Generally speaking, the inscriptions in the Shang Dynasty were simple, and in the Western Zhou Dynasty there were many inscriptions. In the Spring and Autumn Period and the Warring States Period, they became simpler. By the Qin and Han Dynasties, bronzes with long inscriptions were rarely found.
The bronze inscriptions used in the early years of the Zhou Dynasty are very similar to the oracle bone inscriptions of the Yin and Shang Dynasties, from strokes to structure. After King Zhao of Zhou Dynasty, the bronze inscriptions of the Western Zhou Dynasty became increasingly mature. Representative works include "Zong Zhou Zhong" written by King Zhou Zhao, "Wall Pan" written by King Zhou Gong, etc. The main characteristics of the bronze calligraphy at this time are:
The strokes gradually become rounded from the shape of a tadpole tail, and the starting, switching, and closing of the strokes are mostly round pens; the structure is flatter, tighter, and more stable than the bronze calligraphy of the early Zhou Dynasty , and more regular. In terms of composition, we began to pay attention to the vertical and horizontal word spacing and line spacing. The inscriptions with bounded lines are more rigorous, while those with larger word spacing and line spacing appear to be very sparse and open.
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< p>1227 people are askingWhat are the characteristics of gold calligraphy?
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—Now that you have finished reading, the following content is more interesting—
What are the characteristics of Wang Xianzhi’s calligraphy?
Wang Xianzhi’s calligraphy throughout his life The art is not old-fashioned, and unlike his father, the character body likes to have a long shape. Wang Xianzhi comes from a well-educated family and is diligent in his studies. His poetry and calligraphy were a rising star in the Eastern Jin Dynasty. His cursive calligraphy is skillful, graceful, and graceful, no less than that of his father Wang Xizhi, and father and son are collectively called the Two Kings. Wang Xianzhi's study of calligraphy, like his father's, was not limited to studying one discipline, but instead connected with various schools and created his own unique style. Finally achieved the same artistic status as Wang Xizhi. The calligraphy includes Song Mi Fulin's "Mid-Autumn Tie" and so on.
Extended information: Anecdotes and allusions: Ink turns into cattle. Once, Huan Wen asked Wang Xianzhi to write on a fan. Wang Xianzhi started writing, but suddenly the pen fell on the fan, staining the words. Wang Xianzhi changed the ink mark into a black horse and cow, and the painting was very beautiful. Wang Xianzhi was sleeping in his study at night. A group of thieves sneaked into the room and stole everything in the room. Wang Xianzhi said slowly: "My thief, the green felt is a relic of my ancestors. I only ask you to keep this felt." The thief fled in panic. During the Taiyuan period (376-396 AD) when Wei De was not long, the Taiji Palace was completed. Xie An planned to ask Wang Xianzhi to inscribe a plaque as a calligraphy treasure to be passed down to future generations. However, it was difficult to say so directly. The craftsmen nailed it up by mistake and could not take it off, so they had to let General Wei Zhong (Wei Dan) stand on the hanging stool to write the plaque. After the plaque was written, his hair turned white and he was so old that he had only one breath left. He returned home and told his descendants that he would never write a plaque in this way again. Wang Xianzhi understood Xie An's intention and said sternly: "General Wei Zhong is a minister of Cao Wei. How could such a thing happen? If it really happened, it would be enough to show that Cao Wei is weak and cannot last long." Xie An stopped pressing him to write an inscription. Baidu Encyclopedia - Wang Xianzhi
23 likes·11,264 views 2019-04-27
Characteristics of Shang Dynasty bronze inscriptions
1. Schematic tendency and production The Yin and Shang Jin calligraphy works we see usually only have one or two characters, and most of them are combined with patterns to form family emblems and other pattern forms. Even if it is a pure text work, the text style will be processed into a pattern style. Especially the works with the word "亚" in them form a square frame, and other characters are generally arranged within the square frame. The patterned features are very strong. This situation mainly occurred in the middle to late Yin and Shang Dynasties, such as "Mu Wu Ding Ming", "Fu Hao Fang Ding Ming", "Yafang Ding Ming", "Fu Gui Xuan Ming", etc. In these works, most of the text structures are represented as schematic images, and the traces of the pen are mostly modified and processed. Some strokes are even expressed in the form of graphic blocks, rather than what we understand as written strokes. The origins of the forms of these ethnic emblem patterns can even be traced back to the ancient totems of the ethnic groups that correspond to the patterns, so they often reveal a simple, profound, romantic and strange visual effect. In the late Shang Dynasty, the number of inscriptions on bronzes gradually increased, but the length was still within a few words. Long inscriptions like those in the Western Zhou Dynasty still did not appear. The content reflected in the bronze inscriptions of this period was limited to the scope of ancestor worship and inscriptions of merit, such as "Inscription on the Inscription of Xiaochen Yu Zun" and "Inscription on the Inscription of the Second Sacrifice of Bi Qixiao". Among the works of this period, many of the above-mentioned clan emblem patterns and inscriptions appear at the same time, and have not been completely replaced by written text forms, such as "Liu Si Bi Qi Qi Qi Inscription", the lower part of the work It is the emblem of the sub-tapir clan.
In the text production of inscriptions, it is often the phenomenon that some text strokes are modified and bolded. This phenomenon has continued to the inscription calligraphy works of the early Western Zhou Dynasty, such as the Shang Dynasty works "Xiao Chen Yu Zun Qi Inscription" and "Er Sacrifice Bi Qi". "Inscription on the Weapon of the Four Sacrifice", "Inscription on the Ding of Guards", and the works of the early Western Zhou Dynasty such as "Inscription of He Zun" and "Inscription on the Ding of the Great Cup". From the brushes used in these works, we can clearly see traces of some strokes being modified and thickened during production. Take "Xiao Chen Yu Zun Qi Ming" as an example: "Ding", "Wang", "Zheng", "You" and other characters are emphasized in writing, while "Si Si Bi Qi Qi Qi Ming" has more Many of the strokes show signs of being retouched. This deliberate thickening of strokes is actually an older form of hieroglyphics and a relic of the evolution of writing. Take the "Er Sacrifice Bi Qi Yao Inscription" as an example. Most of the bold and graffitied parts are of a pictographic nature, such as "ling", "brother", "bin", "阘", "大" and other characters. , its bold strokes clearly reflect the role of pictograms. These clan emblem patterns and the embellishment and emphasis of handwriting shown in the works often become the visual focus of the works, giving the works a layer of mystery, weirdness, fantasy and romance, constituting the commercial style. The unique art form of calligraphy works. 2. Interrelated relationship with oracle bone inscriptions. The Shang Dynasty’s golden calligraphy developed in parallel with oracle bone inscriptions. According to Mr. Li Xueqin's research, judging from the existing writing, bronze inscriptions appeared slightly earlier than oracle bone inscriptions. Bronze inscriptions appeared after Pan Geng moved to the Yin Dynasty, and the oracle bone inscriptions seen today are products from the middle Yin Dynasty. From the perspective of text usage, they belong to the same system and are essentially the same font. It is just that the carriers that carry them and their production methods are different, which results in differences in visual characteristics. Oracle bone inscriptions are carved on tortoise shells or ox bones with a knife. The font mainly reflects the effect of knife carving on the strokes. The starting and ending parts of the strokes are sharper, and the middle part of the strokes is slightly thicker. Bronze inscriptions are made through standard casting. The process of standard casting can better preserve the characteristics of brush writing than the process of carving oracle bone inscriptions, so the style of brush writing can still be roughly seen on many inscription rubbings. Such as "Xiao Chen Yu Zun's Inscription", "Er Sacrifice Bi Qi's Inscription" and so on. From the perspective of calligraphy art, the inscriptions cast on bronze vessels give people the feeling of being more solemn, thick, simple and elegant. Despite this, the bronze calligraphy works of this period still retain a large number of the characteristics of oracle bone inscriptions in terms of pen and structure. For example, the beginning and end of the strokes are sharper, the middle part of the strokes is thicker, the strokes are strong and strong, the structure is free and strange, pay more attention to the line spacing in the composition, and the word spacing is arranged randomly according to the size of the font, etc. In some cases, the characteristics of the sharp strokes are greatly exaggerated, and the thick strokes in the middle are greatly exaggerated, making the sharp ones sharper and the thick ones thicker, such as "Mu Wu Ding Inscription", "Si Si Bi Qi Yao Inscription", etc. Some bronze inscriptions and oracle bone inscriptions are even difficult to distinguish from the rubbings, such as "The Second Sacrifice of Bi Qi's Utensil Inscription" and "Bu Ci Tong Tu No. 735", "The Fourth Sacrifice of Bi Qi's Utensil Inscription" and "Bu Ci Tong Tu No. 735" Tongtu No. 698" and so on. The difference is that the same writing characteristics as oracle bone inscriptions are obtained through artificial craftsmanship in bronze inscriptions, such as "Muwu Ding Inscription" and "Sisi Bi Qiyi Vessel Inscription". It can be seen from the works In addition to the schematic text, the tip of the pen is raised and closed, and the middle part of the strokes is unusually thick, etc., which are deliberately modified and processed. This itself is very likely to be subconsciously done to be closer to the writing characteristics of oracle bone inscriptions. actions made. The strokes that are emphasized and filled in bronze inscriptions are usually just carved out of an outer frame in oracle bone inscriptions, such as "C", "Ding", and "王" in bronze inscriptions and "C" and "Ding" in oracle bone inscriptions. , the word "王", etc. Some oracle bone inscriptions are also very similar to bronze inscriptions in style, such as "Bu Ci Tong Tu Chapter 578". If some Shang Dynasty writing forms reflected on other carriers can be unearthed in the future, I believe that their characteristics should be similar, because they are originally the same writing style, but they are placed on different carriers and have different production methods. Differences in craftsmanship and materials produce different visual effects. 3. Tolerance of individuality in art In the Shang Dynasty society, tolerance of individuality in art was not reflected in the subjective consciousness of society, because in the social environment at that time, "there would be no social basis to stimulate the discovery and development of individuality." (Cong Wenjunyu). The tolerance for artistic individuality shown in the Shang Dynasty gold calligraphy is only based on our objective evaluation of the works at that time from a modern perspective.
At that time, the existence of individual styles in artistic works was mainly reflected in subconscious expression and acceptance of tolerance. However, for those who study gold calligraphy today, it is obviously an extremely precious gift from ancient times. Bronze calligraphy works of the Shang Dynasty are naturally casual in composition, structure, and brushwork. The formal differences between different works can be very large, such as "The Second Sacrifice of Bi Qi's Utensil Inscription", "The Fourth Sacrifice of Bi Qi's Utensil Inscription", "Liu Si Bi Qi You Vessel Inscription" is the inscription of the Bi Qi family. Judging from the chronology of the inscription, the difference between the writing and production time is only four years. However, the artistic personality displayed clearly shows that the work was not created by one person. , the difference in calligraphy style is quite obvious. In fact, in the gold calligraphy of the Yin and Shang Dynasties, it can be said that each work can have its own unique characteristics that are different from other works, such as "Xiao Ziyi Inscription" and "Bingshen Jiao Inscription". To a certain extent, this reflects the tolerance and acceptance of artistic individuality in the aesthetic expression of calligraphy at that time. Of course, it also has an important relationship with the social and cultural characteristics of the time. The early Yin merchants were nomadic people who loved drinking and had a naturally unrestrained personality. Believe in ghosts and gods, and advocate the way of divination, witchcraft and blessing. The individual expressions of gold calligraphy art are derived from the natural expression of people's personalities at that time. The reason why it was accepted by the times and has been preserved to this day has something to do with the fact that the social environment at that time was still in the primary stage of civilization. It is very different from our current deliberate pursuit of the individual style of works in artistic creation. . Because there are obvious cultural differences between the two. As for the expression of individual consciousness, it is impossible for the Shang Dynasty to be subject to too many regulations by the "ritual and music" system like the Western Zhou Dynasty. These rich individual expressions contained in the bronze calligraphy of the Yin and Shang Dynasties provide a good example for our study today. 4. The realm of simplicity, mystery and innocence and romance. The artistic realm of gold calligraphy works in the Yin and Shang Dynasties is simplicity, mystery and innocence and romance. When working on works such as "Inscriptions on Bi's Utensils for Sacrifice", "Inscriptions on Four Sacrifice of Bi's Utensils", "Inscriptions on Six Sacrifice of Bi's Utensils", it is like being immersed in the mysterious and romantic life mood of ancient ancestors. In addition to the fact that the Yin and Shang era is very far away from the era we live in now, and we don’t know much about the lifestyle and cultural characteristics of our ancestors, which naturally creates a sense of mystery and yearning, the characteristics of merchants in their belief in ghosts and gods, And the relatively primitive lifestyle, reflected abstractly in the realm of the works, is the key to making people feel the simplicity, mystery, innocence and romance of Shang Dynasty gold calligraphy. Facing the splendid cultural relics of the Yin merchants, Mr. Guo Moruo said with emotion: "The temperament of the merchants is inclined to art, and the craftsmanship of Yi utensils is unparalleled through the ages. Their fondness for drinking, hunting in the fields, and worshiping ghosts and gods are all proof of this reality." "Yin merchants were bold and romantic, and people were unable to give scientific answers to everything unknown in nature due to technological capabilities, and could only have a reverent attitude toward it. Primitive religion and witchcraft made people's lives full of mystery at that time. All of this affected the mental state of people during the Yin and Shang Dynasties, directly or indirectly making the bronze calligraphy works of the Yin and Shang Dynasties mysterious and strange in style, natural, magnificent and colorful, with unrestrained creative techniques and rich changes. , showing extremely high artistic charm. When we appreciate these works, we feel like we are in front of the bizarre rock paintings in the mountains and swamps. Those unpredictable, unpredictable and vivid artistic images are endlessly memorable! The above four points are very prominent in the evolution of Shang and Zhou gold calligraphy. The splendidness and simplicity of the civilization of the Shang Dynasty, as well as the mystery and wonder of the primitive religion of the Shang Dynasty, all stem from the dominance of the historical culture and technological capabilities of that time. Throughout the entire historical period of Shang and Zhou Jin calligraphy, I believe that the mystery and wonder, the vigor and boldness, the richness and freedom of Shang Dynasty Jin calligraphy are the most worthy of our more research and study. What they reflect in the aesthetics of creation Tolerance and freedom of expression are still worthy of our envy even in the 21st century.
5 likes · 959 views 2017-12-16
What are the characteristics of bronze inscriptions in small seal script, oracle bone inscriptions, bronze inscriptions in small seal script, official script, regular script, cursive script and running script?
Bronze inscriptions in small seal script, Characteristics of oracle bone inscriptions, bronze inscriptions, small seal script, official script, regular script, cursive script and running script: 1. Characteristics of oracle bone inscriptions. Oracle bone inscriptions are characters engraved or written on tortoise shells and animal bones. They already have the three elements of Chinese calligraphy: pen use, word knotting, and composition. The lines he used were strict and thin, with both straight and thick strokes, and his strokes were folded in many directions, which had an impact on the pen and knife used for seal cutting in later generations.
Judging from the structural font, the characters not only change, but are of different sizes, they are relatively balanced and symmetrical, and also show a stable pattern. Therefore, from the perspective of composition, although it is affected by the size and shape of the bone fragments, it still shows the carving skills and the artistic characteristics of writing. 2. Characteristics of bronze inscriptions The bronze calligraphy of the Shang Dynasty was produced on the basis of oracle bone inscriptions. It has a small number of characters, long and thin fonts, powerful and majestic writing styles, dense and dense movement, rigorous structure, dignified situation, and each has its own charm. Someone once summarized it into two styles, one is a vigorous brushwork, plump body, with many sharp edges at the beginning and end of the strokes, and fat pens in between; the other is a strong brushstrokes, thin body, straight strokes, no or little exposure Edge. Judging from the calligraphy and calligraphy style of the early Western Zhou Dynasty bronze inscriptions, the overall form is delicate and graceful, with sharp strokes at the beginning and end, obvious waves, rigorous structure, and smooth movement. The later style is solemn and majestic. 3. Characteristics of Xiaozhuan: First, it is rectangular, with one and a half characters in square regular script as the measure, one character as the main body, and half characters as the vertical feet. The approximate ratio is about 3:2. Second, the strokes are horizontally and vertically, evenly rounded, and basically the same thickness. All horizontal and vertical paintings are equidistant and parallel, and all strokes are mainly circles, with circles rising and closing, circles within squares, and squares within circles, making the circles flexible and interesting. The third is balance and symmetry. The balance and symmetry of space division are the unique charm of seal script. Symmetry not only exists in left-right symmetry and up-down symmetry, but also exists in the local symmetry of the characters and the symmetry of the left and right inclinations of the arc-shaped strokes. The fourth is to tighten the top and loosen the bottom. The main part of most Xiaozhuan characters is in the upper half, and the lower half is a telescopic hanging foot. Of course, there are also characters with no feet at the bottom. The main strokes are in the lower part, and the upper strokes can be raised. 4. Characteristics of official script: The writing effect of official script is slightly broad and flat, with long horizontal strokes and short straight strokes. It is rectangular in shape and pays attention to "silkworm head and wild goose tail" and "twists and turns". 5. Characteristics of regular script. It gradually evolved from official script and became more simplified. It is horizontally and vertically straight and regular. It is a model among fonts, so it is called regular script and has been used until modern times. 6. Characteristics of cursive writing: The structure saves strokes, deforms, and eliminates the complex and simplifies it, making writing more convenient and crisp. The details of pointillism are omitted, and the outline is used to approximate the form, breaking the balance, deforming and exaggerating its momentum, allowing more room for expression of emotion. 7. Characteristics of running script Running script is a calligraphy style between regular script and cursive script. Those who write more freely and freely, closer to cursive script, are called Xingcao; those who write more upright and steady, closer to regular script, are called Xingkai. In the process of writing, the movement of the brush strokes is more obvious in various forms of stipple painting. This movement of the brush strokes often leaves a trace of mutual involvement between the stipples and the words, as thin as a gossamer. traces, this is Silian. Running script is the fast writing of regular script and the flow of regular script. After analyzing several groups of characters in regular script and running script, it was found that when writing in regular script and running script, the stipple writing method and the guidelines to be followed when using the pen, such as center front, spread hair, reverse in and out, lift and press the main, hide the front, etc. are all They are the same, except that the running script is more stretched and flowing when written.
217 likes · 5,099 views 2019-12-09
What are oracle bone inscriptions and bronze inscriptions (Zhongdingwen), and what are their characteristics in the art of calligraphy?
The carrier of bronze inscriptions is a container such as a bronze tripod, and the carrier of oracle bone inscriptions is materials such as animal bones and tortoise shells. Bronze inscriptions are a type of writing engraved on bronze bells or tripods. Bronze inscriptions originated in the Shang Dynasty and became popular in the Zhou Dynasty. They were developed on the basis of oracle bone inscriptions. Because it is cast and engraved on the bell and tripod, it is sometimes called the bell and tripod script. According to statistics, there are about 3,005 characters in bronze inscriptions, of which 1,804 are known, which is slightly more than oracle bone inscriptions. The bronze inscriptions are based on oracle bone inscriptions at the top and small seal scripts of the Qin Dynasty at the bottom. It is said that most calligraphy is engraved on bells and tripods, so it can preserve the original writing better than oracle bone inscriptions and has a simple style. Bronze inscriptions have made important contributions to the further development of calligraphy in terms of brushwork, knotting, and composition. Bronze inscriptions are inscriptions on bronze vessels, also known as bell and tripod inscriptions. Since the production of bronze vessels mostly has commemorative value, the writers at this time are also more careful. Compared with oracle bone inscriptions, bronze inscriptions are like decorative bodies. According to the study of unearthed bronze inscriptions, bronze inscriptions are also divided into three periods: the early period is the period of King Wu, King Cheng, and King Kang. There are not many bronze inscriptions on the bronzes at this time, but the characters are broad and powerful. The middle period is the period of King Zhao and King Mu. At this time, there are fewer artifacts and the bronze inscriptions have not changed much. Compared with the earlier period, the calligraphy momentum is similar, but not as strong as its vigorous style.
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How many fonts are there in Chinese calligraphy? What font does the bronze inscription belong to?
1. The five main styles of Chinese calligraphy are seal script, official script, regular script, running script and cursive script. Which is further subdivided into 1. Seal script style: large seal script and small seal script.
2. Official script style: ancient official script and modern official script. 3. Regular script style: Wei stele, regular script. 4. Running script style: running regular script and running cursive script. 5. Cursive script: Zhangcao, Xiaocao, Dacao and standard cursive. 2. The calligraphy style of bronze inscriptions is generally called Dazhuan or Zhoushu, and is also called Gushu. In a broad sense, the large seal script refers to the writing before the small seal script, including bronze inscriptions (or "Zhongdingwen") and zhenwen (the traditional version of the bronze inscriptions). Contemporary Chinese scholars estimate that there should be oracle bone inscriptions in the Qin Dynasty, so they are now included.
Extended information: Chinese calligraphy styles and fonts: 1. "Font" refers to seal characters, official characters, regular characters, and cursive characters. It does not consider the behavioral issues of writing, let alone the personal style of the calligrapher. question. In the history of calligraphy, it is the most basic part. 2. "Calligraphy style", a typical example is running script. It is not a font in the literal sense. It is just the fast writing and continuous writing of regular characters. Its writing behavior is greater than the resting style of writing. Of course speaking broadly: such as bird-insect seal script, flying white script, gossamer script, or "small grass" and "zhang grass" that are different from typical big grass, they are all produced due to the act of writing rather than character recognition, and they belong to this category. . 3. "Calligraphy style" is closest to the calligrapher's personal temperament as an artist, the interesting and creative part. For example, Yan Liu Ouzhao, Ou Yu Chuzhen, Su Huang Mi Cai, or Erwang Jianfan, these were considered to be "fonts" and "calligraphy styles" in the past. It is obviously unreasonable to say "fonts", and "calligraphy styles" "Style" is probably passable but not strict, and "calligraphy style" is more appropriate. "Font" refers to the literal sense; "calligraphy style" refers to the artistic calligraphy sense. These are two This is an extreme. "Book style" is in the middle between the two. It is neither a practical, universal, independent writing style, nor does it involve too personal taste; it relies on the power of words. The relationship between "font", "calligraphy style" and "calligraphy style" most typically shows the "wall-riding character" that calligraphy must maintain. ". It must work hard to explore a new and ever-changing future path, but it must firmly tie itself to the foundation of words. This is a prerequisite for survival that must be obeyed unconditionally. Baidu Encyclopedia - Shu Style Baidu Encyclopedia ——Big Seal Script Baidu Encyclopedia——Bronze Inscriptions (Yin and Zhou Bronze Inscriptions)
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