Although the original simple shape is very simple, it is still not convenient to record compared with the later words. Because there are many ways to describe a thing, such as describing the sun, you can just draw a circle to represent it, or you can draw a circle with some radioactive lines to represent the rays of the sun. In addition, there are uncertainties in a single picture. If you draw a circle alone, you don't know whether it represents the sun or the plate. To make one thing clear, you need continuous pictures to express it. Some patterns gradually form procedures in the process of long-term use, and most of these stylized patterns are later words. This is how pictographs and ideograms in Chinese characters come from.
The appearance of Chinese characters is the need of recording, and painting has also developed greatly at this time. The rise of Confucianism in Zhou Dynasty and its main ideas had a great influence on the development of painting. Confucius advocated the social function of painting, and the purpose of painting was to educate people. Drawing portraits of sages, heroes, martyrs and righteous people with pictures is intuitive and easy to understand for people with low educational level, which objectively promotes the development of figure painting. In order to better represent the publicized characters, make the picture beautiful and highlight the status level of people, it is necessary to add backgrounds to people and clothes of different colors. In this way, the painting in this period developed from the initial figurative simulation and abstract line expression to many factors such as line, shape, color, narrative background and perspective.
Although literature and painting develop independently after separation, they seem to go further and further, but they are actually combined. During the Spring and Autumn Period and the Warring States Period, the bronze inscriptions in Wu Chu, especially the seal script of dragons, phoenixes, birds and insects, were very decorative, and the characters' strokes were like snakes or birds. Although it is written, it is very decorative and can be said to be a pattern.
The generation of characters is the need of recording and the requirement of usability. But because the people who recorded or wrote words were all literati who mastered cultural knowledge at that time. They found different aesthetic feelings in the process of writing. The priority of pen use, the subtle modification of text structure and the distance between words will have different effects. At the end of Han Dynasty and the beginning of Wei and Jin Dynasties, many scholars tried to discover the beauty of writing itself. During this period, a large number of calligraphy theory's works and calligraphers appeared, such as Cai Yong, who wrote pen theory, and Mrs. Wei, who wrote pen drawings, all symbolized the consciousness of calligraphy. During this period, the main calligraphy styles commonly used now were established-seal script, official script, regular script, running script and cursive script. In this way, calligraphy was a kind of "subservient beauty" from the early stage of the development of characters, and in the Wei and Jin Dynasties, the factors suitable for calligraphy performance were strengthened, which gradually established the ontology status of calligraphy art and made characters become subservient. ○ 1 During the Wei, Jin, Southern and Northern Dynasties, "the old normative system and social order collapsed, wars were frequent, and people were in dire straits" ○2 "When people's limited life and death were highlighted, people would realize the value of my time related to individual life in theory". A kind of anxiety about life and death, influenced by the philosophy of Lao Zi and Zhuang Zi, triggered the rise of metaphysics. The pursuit of nature and freedom in Laozi and Zhuangzi's philosophy and the evaluation of characters in metaphysical words have aroused people's interest in natural landscapes and appreciation of painting. The theory of "vivid expression" and "recumbent swimming" and the formal requirements of painting itself (lines, verve, space, etc. ) Mark the consciousness of painting. The awareness of socialization is also related to the participation of literati. Painting began to differentiate from the original "tangible" craftsmen's works, and some literati also participated in it, which improved the status of painting and made painting enter the elite class like calligraphy.
Because China's calligraphy and painting tools are the same, they are all conical brushes, which draw lines on paper or silk with ink. This determines that they are similar in many ways. In the Catalogue of Ancient Paintings written by Sheikh in Southern Qi Dynasty, there are six methods of painting creation requirements and evaluation criteria: vivid charm, brushwork, pictographic images, classification and color setting, business position, vivid expression and modeling. Although this is the requirement and criticism criterion for painting, except for "coloring with the class", the other five methods are also applicable to calligraphy.
First of all, the charm is vivid. In painting, "refers to a person's demeanor and posture, which can express people's mood, personality, dignity and beauty in temperament, but can't specifically refer to Chen's feelings." ○4 Charm mainly shows the temperament and demeanor of the object being represented. In fact, calligraphy is also modeling, in a sense, depicting words. Characters also have their own modeling characteristics. Mrs. Wei's "Pen Map" says that "the point is like a falling stone, the horizontal is like a cloud thousands of miles, and the vertical is like a withered vine ..." The expressive charm in calligraphy is the characteristic of conveying the words themselves, and of course, the consistency and rhythm of the pen in the writing process. In fact, I think the charm of Sheikh here is vivid, and it also includes the consistency of brushwork. Imagine how a painting with unsmooth lines embodies the spirit.
Secondly. Bone pen. In the concept at that time, "bone method" refers to seeing the dignity of characters from their skeletons, and also refers to the expression method of lines. It is particularly important to use a brush in calligraphy. It is often said that one of the basic skills of a person's calligraphy is to look at the strength of the writer's calligraphy. The so-called "strict antiquity" and "penetrating the back of the paper" refer to the strength of the work.
Other "object images" in painting refer to depicting objects according to their characteristics. As I said before, calligraphy is also modeling, but it is not an objective imitation of external things. We should grasp the glyphs, not abandon them. Quotient position refers to composition in painting and composition in calligraphy, which is one of the three aesthetic characteristics of calligraphy. "Counting white is black" in calligraphy refers to the density between words, the size of words themselves, and the contrast between the space occupied by strokes and white paper. The last "transfer and modeling" refers to copying a work in painting. In calligraphy, we often say that tracing red or copying paste means copying a work.
In this period, calligraphy and painting were only similar in external skills or tools. When the concept of "art" was put forward, calligraphy and painting were unified in the spiritual core of the creative subject. Li Simiao, a calligraphy theorist in the Tang Dynasty, first put forward the style of "Yi", and he listed "yi pin" as the first in his book "Book Back". In the aspect of painting, Zhu proposed "one product" in the Record of Famous Paintings in Tang Dynasty, but put it at the end. Huang Xiufu of the Five Dynasties put "Yi" in the first place in Yizhou Famous Paintings. In Huang Xiufu's Yizhou Famous Paintings, "Yi" means: "I am poor at composition, but diligent in painting. The pen is simple and simple, and it is natural. Don't be a model, because it is meaningful, so the purpose is a geer. " The meaning of "Yi" here is different from that of Li Simiao. The original meaning of "escape" refers to being superior and refined. Among them, "using a pen is simple and natural" means that it is no longer a description of objective things, and it does not require high skills. It advocates a comfortable "writing" and conveys the refined spiritual temperament of the creative subject in his works. The same is true of calligraphy, in which "Yi" is a betrayal of "Fa", emphasizing people's self-discipline and "Yi" emphasizes people's spirituality. ○5 During this period, the slogan "Calligraphy and painting are of the same origin" was put forward. Part of the reason for "painting and calligraphy are of the same origin" is that in order to improve the status of painting, literati introduced calligraphy into painting to make it more elite. At the same time, the introduction of calligraphy into painting is actually the introduction of calligraphy spirit into painting, which better expresses the spiritual connotation of the creative subject. The appearance of "Yi" made China's painting in this period develop from "the realm without me" before the Song Dynasty to "the realm with me"