The establishment of official script also means that the spatial modeling moves from rectangular to rectangular, which means that the movement of pen gesture can be opened horizontally. It means that "shape" can not only obey the need of readability of words, but also enhance the beauty of writing techniques in strokes. It is a great change compared with the stable and upright structure of the bronze inscription and the closed and restrained structure of the small seal, and it is a higher-level way of space construction compared with the early bronze inscription, which is rich and colorful but still has to "follow the body". The spatial structure of "following the body" is restricted by pictographs, which limits the author's subjectivity to the natural shape, while the official script completely walks into the space with abstract lines. Although it is still limited by the formal space of regular Chinese characters, mainly between words and between lines and columns, the internal space construction of words, such as the length of strokes, the principal order, the oblique correction, the straightness, the back, the adhesion, the increase and decrease, the echo and the resignation, can produce various rich changes due to the exertion of the calligrapher's subjectivity. The formal beauty factor of space construction in China's calligraphy has received unprecedented attention in Lishu.
-----------. First of all, the gesture changed from curved to straight, resulting in Fang Bi on the basis of the round pen. Because of the multi-use of pressing, the use of the pen has a sense of rhythm, which is called "twists and turns", and thus the method of "opposing people to level out" appeared, and the dew front followed. When starting a pen and changing the direction of movement, the different changes in speed and strength have resulted in a flank, and the use of calligraphy and its changes have been unprecedentedly enriched here, which has laid the foundation for the later development of calligraphy in a completely personalized direction.
Due to the richness of brushwork, such as the unity of opposing factors, such as center and flank, hidden front and exposed front, beam and spread, disease and astringency, lightness and heaviness, and square and circle, China's calligraphy began to notice that, in addition to building font space, the shape of line itself and its changes are an incomparably rich vocabulary system-line itself has finally stepped onto the historical stage independently. From Oracle Bone Inscriptions, the earliest mature script in China, to Fan Zhu's bronze inscriptions, as well as the inscriptions on stones and weights in the Qin Dynasty, the font number has often changed in different styles. The differences of these styles are mainly based on the space construction. And the feeling of movement disappears in the perfect framework of self-sufficient individuals. In Oracle Bone Inscriptions's inscriptions on bronze, our ancestors' naivety in space construction masked their dullness in the sense of line movement. In the period of Shi Guwen, the sense of movement changed from dullness to rigidity, and in the period of Qin Shihuang's seal script, this rigidity further changed into the near disappearance of the sense of movement. Qin Xiao Zhuan's absolutely uniform cutting of spatial structure made it unable to take into account the rich changes of lines themselves, and Xiao Zhuan became the most "static beauty" model of all fonts. From the historical point of view of development, such "static beauty" is likely to stifle the artistic life of calligraphy. Fortunately, Xiao Zhuan never became a typical calligraphy style in China's book history. Even in Qin Shihuang's period, apart from formal festivals such as closing the Zen, it had its place as a writing standard and its scope of use was extremely narrow. Xiao Zhuan has not been supported by practicality, but also lost the support of artistic vitality. It has become a vague existence or the existence of etiquette and model, so that we can understand the significance of the rise of official script in Qin and Han Dynasties in Tsuihiji. A fundamental betrayal of Xiao Zhuan by the official script of Qin and Han Dynasties was that it completely broke the rigid spirit of Xiao Zhuan, and instead it was an open structure and moving lines. The early aesthetic emphasis of China's calligraphy history shifted from the construction of spatial form to the movement and change of lines themselves. If Oracle Bone Inscriptions and Jin Wen initiated the path of "line" in China's calligraphy art, the secret lies in that the ancients gradually evolved pictographic pictures into purified abstract structures and lines, thus laying the foundation for China's calligraphy to move towards "line art", then the aesthetic content of Qin and Han calligraphy lies in organically combining the flowing beauty of lines in the process of time with the architectural beauty formed in space slice, forming an advanced art form that drives space with time and controls space with time, thus enabling China to. Therefore, in the history of calligraphy, we refer to the process of official change as a prelude to the consciousness of calligraphy art. Naxi Dongba hieroglyphics are the essence of Dongba culture. This kind of picturelike writing is called by Naxi people as "looking at Lu", which means "traces on wood and stone", and is extended to see wood painting wood and stone painting stone. Since there is still a Naxi sacrifice "Dongba", these hieroglyphics can be interpreted. Therefore, it is praised as "the only living hieroglyph in the world today" at home and abroad. Dongba ancient books written in Dongba language are even included in the World Memory Heritage List. Dongba hieroglyphics, with about 1,4 commonly used words, plus the phonetic alphabet Geba, which is based on hieroglyphics, total more than 2,. These hieroglyphs, like the ancient Yulong Snow Mountain Glacier, do not melt with the changes of the times and are miraculously passed down to this day. This kind of human "childhood writing" is an important material for studying the generation of human social writing.
more than 1 years ago, the ancestors of Naxi nationality created the original characters by observing the images of the heavens, the earth, the sun, the moon, mountains, birds and beasts, and by means of combination, variation, sound and form transformation.
It has three characteristics
1) First, Dongba is based on pictographs, including pictographs, comprehensions, combinations and meanings, accounting for more than half of the total.
2) Secondly, Dongba language adds phonetic symbols on the basis of pictographs.
3) Furthermore, Dongba language also uses additional symbols to express its meaning.
In Dongba characters, people and things are vividly depicted and directly regarded as characters, so people who haven't studied Dongba characters can understand the general idea. Sometimes Dongba writing can be decorated with colors. Dongba often uses "red, yellow, green, blue and black". The five colors correspond to the "wood, fire, earth and gold" of Dongba culture, which makes the writing more naive and romantic.