More than 8,000 years ago, Cishan and Peiligang cultures appeared in the Yellow River basin, and there were many symbols on the handmade ceramics unearthed in Peiligang. This symbol is a chaotic combination of our ancestors' communication function, note-taking function and pattern decoration function. Although these are not real Chinese characters, they are the embryonic forms of Chinese characters.
Immediately after the Banpo site of Yangshao culture about 6000 years ago, some painted pottery with similar characters were unearthed. These symbols are distinguished from patterns, which promotes the development of Chinese characters. This can be said to be the origin of China characters.
Then Erlitou culture and Erligang culture. In the archaeological excavation of Erlitou culture, there are 24 kinds of marked pottery pieces, some of which are similar to Oracle Bone Inscriptions in Yin Ruins, and all of them are single independent characters. Erligang culture was found to have a writing system. Three bones with words were found here, two with words and a cross, which seemed to be carved for practicing lettering. This has made civilization take another big step forward.
The origin of primitive characters is an imitation instinct, which is used to visualize a specific thing. Although it is simple and chaotic, it already has a certain aesthetic taste. This simple writing can therefore be called prehistoric calligraphy.
Second, Yin, Shang and the end of Han Dynasty
In the embryonic period of calligraphy (from Yin Shang Dynasty to the end of Han Dynasty), the writing experience evolved from Oracle Bone Inscriptions, ancient prose (bronze inscriptions), big seal script (small seal script), official script (eight-part script), cursive script (Cao Zhang), running script and regular script. In the heyday of calligraphy (Jin, Southern and Northern Dynasties to Sui and Tang Dynasties), the art of calligraphy entered a new realm.
From seal script to cursive script and regular script, it became the mainstream style in this period. The appearance of Wang Xizhi, a great calligrapher, made the art of calligraphy shine brilliantly, and his artistic achievements were highly respected in the Tang Dynasty. As Li Zhimin, a professor of Peking University and a pioneer, commented: "Wang Xizhi's calligraphy is simple and profound, based on both the philosophy of Laozi and Zhuangzi and the Confucian doctrine of the mean."
At the same time, a number of calligraphers appeared in the Tang Dynasty, such as Ou Yangxun, Yan Zhenqing and Liu Gongquan. In calligraphy attainments, each has his own merits and diverse styles.
Third, the Tang Dynasty
Calligraphy theory in the Tang Dynasty was more rigorous and perfect on the basis of the Three Kingdoms, the Jin Dynasty and the Southern and Northern Dynasties. For example, Sun's Shu Pu, His Shu Duan, and Zhang Yanyuan's Fa Lu were all regarded as the standard by later generations, which had a far-reaching influence on calligraphy theory's creation in later generations. The calligraphy of Song, Liao, Jin and Yuan Dynasties in the Five Dynasties is the tracing and inheritance of the calligraphy of Jin and Tang Dynasties. Due to the war and political instability, it presents a complicated situation.
Calligraphers turn to the track of expressing personal feelings and interests with calligraphy. Song Sijia in the Northern Song Dynasty and Zhao Mengfu in the Yuan Dynasty appeared. Calligraphy theory has also developed, with theoretical works such as Mo Chi Pian, History of Books, Xuan He Shu Pu, Mo Han Zhi, Guang Chuan Shu Ba, Fa Shu Kao and Hanlin. It provides reference samples and theoretical guidance for the artistic creation of calligraphers at that time and later generations.
Fourth, the Ming and Qing Dynasties
The art of calligraphy in Ming Dynasty basically developed after learning calligraphy in Song and Yuan Dynasties. Nowadays, when people talk about calligraphy in Qing Dynasty, they all divide it into two periods, namely, "Tiexue" and "Mingxue", with the period of Jiaqing Daoguang as the staging point. That is to say, before11920s, it was the iron study period, followed by the stele study period. Whether this division is reasonable is another matter.
However, after the Song and Yuan Dynasties, the so-called era of stele study centered on the calligraphy of the two kings turned to the lowest point so far. It is undeniable that the number of authors who studied seal script before the Han and Wei Dynasties gradually increased. At this time, famous artists came forth in large numbers, each leading the way. At this time, calligraphy theory was more successful than the previous generation, and successively produced theoretical works such as Shu Raft, Yi Tan, Shu Jian and Guang Yi Tan.
Calligraphy works in Ming and Qing Dynasties are handed down from generation to generation like paintings, leaving more. It is also seen in the market at present. China's paintings and calligraphy works, since Wei and Jin dynasties at the latest, have been treasured by the court and the people as works of art and become people's spiritual food. However, the authenticity of the works appeared problems in circulation, which puzzled collectors and connoisseurs. And there are also cases of official fraud in history.
During the Ming and Qing Dynasties, due to the development of industry and commerce in some coastal cities, the demand for calligraphy and painting increased day by day, and fakes appeared in the Ming Dynasty. Suzhou films, made in Henan, made in Hunan and made in the back door are everywhere.
This is also a problem that puzzles collectors and connoisseurs. Although there are many works in Ming and Qing dynasties, there are also many works such as real fish and pearls. Therefore, for collectors and collectors in the current art market, they should be cautious when buying and collecting these works.
Extended data:
Related extension: the aesthetics of calligraphy;
1, the overall beauty of calligraphy
The basic shape of Chinese characters is square, but through the expansion and contraction of stippling and the torsion of axis, various moving shapes can also be formed, thus combining into beautiful calligraphy works. The structural form is mainly influenced by two factors, one is the need to express the interest of calligraphy; The second is the formal factors of calligraphy expression.
As far as the latter is concerned, it is mainly reflected in three aspects: first, the influence of calligraphy, such as the vertical rectangle of seal script; Secondly, the influence of glyphs, some words are oblate and some words are rectangular; The third is the influence of composition. Therefore, only under the control of the above two factors can we create beautiful knots by actively creating forms.
2. The structure of calligraphy stippling is beautiful
There are two main ways to construct the structural beauty of stippling. One is that all kinds of stippling colors are directly combined into various beautiful single characters and radicals according to a certain combination method. The second is to combine various radicals into various glyphs in a certain way. The radical combinations of Chinese characters are nothing more than left-right type, left-middle-right type, up-down type, upper-middle-lower type, enclosing type and semi-enclosing type.
These principles are mainly the principles of proportion, balance, rhythm, rhythm and simplicity. What I want to mention here is the principle of proportion, in which the golden ratio is a very important proportion and is very important for the structural beauty of stippling.
3. The combination of calligraphy, pen and ink and color is beautiful.
The artistry of ink color combination mainly refers to the order of its combination. Calligraphy, as an art, its various colors can no longer be chaotic, but should be very orderly. There are also some aesthetic principles that writers need to abide by. Such as emphasis, gradual change and balance.
The ink color combination of calligraphy structure mainly involves two aspects: one is the segmentation and combination of background colors. People often say that "black hours count white" is the content in this respect. The second is the stippling structure of ink color combination. From the overall effect of the work, we should not only pay attention to the plane structure of stippling pen and ink, but also pay attention to the layering of stippling pen and ink, so as to enhance the expression depth of calligraphy.
Baidu encyclopedia-calligraphy art
Baidu encyclopedia-calligraphy