Chinese calligraphy - the three heydays of artistry
First of all, the first epoch-making heyday of Chinese calligraphy in calligraphy was from the period of King Li of the Western Zhou Dynasty to the middle and late period of slave society. (around 1100 BC-700 BC) is marked by the emergence of bronze inscriptions. This leap in the artistic development of calligraphy is based on inheriting the Yangshao culture and oracle bone inscriptions from its predecessors. It is said that bronze inscriptions are the arrival of the first heyday of Chinese calligraphy artistry because we call bronze inscriptions an art of cursive script that is not cursive script. Regardless of the way the brush is used, the looseness and freedom of the structure, and the overall spirit and momentum, the bronze inscriptions have many striking similarities with the cursive calligraphy art of later generations. It can be said that the emergence of bronze inscriptions kicked off the art of Chinese calligraphy.
The second is the second epoch-making heyday of Chinese characters in calligraphy artistry. From the middle period of feudal society (around 600-900), the emergence of Kuang cursive calligraphy art in the Tang Dynasty was marked. This leap in the artistic development of calligraphy is based on the inheritance of predecessors - Zhang Zhi, Wang Xizhi and others. It can be said that the wild cursive calligraphy of the Tang Dynasty reached its peak in terms of artistry. The most representative figure is Zhang Dian, the sage of grass. He mainly uses the method of external rubbing and support, uses both fingers and wrists, has a variety of brush strokes, and can move the brush in all directions. On the basis of Wanhao's combined efforts, he fully utilized the characteristics of the brush. ; The structure is very different in density, continuous and lifelike, reaching a state of being arbitrary and natural. The cursive works he wrote are full of unrestrained momentum, using white and black, and there is an otherworldly natural beauty hidden between the lines; he can also convey joy, anger, sorrow and joy to the pen, making passionate thoughts and feelings vividly appear on the paper; its meaning and charm So high that no one can match it.
The next step is the third epoch-making heyday of Chinese characters in the art of calligraphy. From the end of the 20th century to the beginning of the 21st century, it was marked by the emergence of modernism, academicism and Zen calligraphy. This rapid development of calligraphy art is based on the Tang Dynasty's cursive calligraphy art and the achievements of human social science, culture and art. Strictly speaking, the arrival of the third epoch-making heyday will occur at the end of the twenty-first century. Modernism, academicism and Zen calligraphy not only absorb the principles of art and science - the unity of nature and man in painting, music, etc., and the principles of social science - the thoughts and feelings of philosophy, literature, etc.; they also absorb the principles of natural science - physics, geometry Equivalent laws and axioms, and through exaggerated and deformed non-Euclidean geometric compositions and the law of the golden section, the author's subjective thoughts and feelings and the objective laws of the universe are fully expressed; in this way, the art of Chinese calligraphy can reach an unprecedented high level. Real calligraphers combine the aura of all things in the world and use skillful techniques, unique shapes, and freehand brushwork techniques to express their pride, pride, and understanding of all things with the help of their hands. In order to achieve the state of integration with all things. To achieve this state not only requires ten years of diligent study and practice of the basic skills of traditional calligraphy, but also requires years of absorbing the essence of the achievements of human social sciences, culture and art; it not only requires being indifferent to fame and fortune and forgetting the body and mind to engage in the art of calligraphy, it also requires paying attention to the individual Moral personality and selfless dedication to the art of calligraphy.
Since ancient times, there have been only a handful of truly great calligraphy masters, while there are countless phony calligraphers of all kinds, and they come all at once. It is the same in all fields of human society, especially in the field of Chinese calligraphy. Without special talents, rich imagination and innovative spirit; without exquisite techniques, profound knowledge and pure thoughts and feelings; without a thorough understanding of the universe and life, you It is impossible to have high attainments in the art of calligraphy, let alone to reach the level of a master who is unparalleled in the past and the present. Now we should not be deceived by the superficial phenomena caused by the rigidity and hesitation of some laggards, and ignore the future of Chinese calligraphy art and join them; let alone be frustrated by the chaotic situation in the calligraphy world, and thus have a negative attitude toward Chinese calligraphy. We have lost confidence in the bright future of art. We must keep a clear head and an optimistic spirit, and be able to accept the excitement and enlightenment brought by new things. If traditional calligraphy - Zhen Xing Li Zhuan - is compared to a bicycle, then cursive calligraphy is like a motorcycle, while modern, academic and Zen calligraphy are like cars. I would like to ask everyone, who represents the general trend of the development of calligraphy art! Therefore, we advise those who have not contributed to the art of calligraphy not to hinder the healthy development of calligraphy art. Isn’t it good to do so?