The Beauty of Chinese Characters explains that reading China's original calligraphy has become a unique art, with the number of calligraphers, the perfection of calligraphy tools and the magic of calligraphy art? Unique in the world! Chinese characters are the most beautiful characters in the world. This paper discusses the beauty of Chinese characters from the perspective of geometry.
Geometry studies space, which has dimensions. The more dimensions, the greater the degree of freedom. Dimensions are more abstract. Let's give an example to illustrate:
The submerged snake in the cave is limited by the cave wall and can only move back and forth. Its space is only one dimension. It turns out that the galloping horse can turn left and right except for advancing and returning, and its space is two-dimensional. Birds in the air can not only go forward and backward, turn left and turn right, but also take off upwards and glide downwards. The sky is high and birds fly? Birds are freer than anyone else, because three-dimensional space has the greatest freedom.
Let's look at the Latin phonetic symbols. Pinyin characters with letters as units are essentially one-dimensional. Writing English words with a ballpoint pen bends like a snake. English calligraphy works are written with quill pens or fountain pens. With the different force, the width of the handwriting changes slightly to show the spatial rhythm, which is more beautiful than the handwriting written by ballpoint pen because of the extra freedom in the width direction. But the width of the pen is limited, just like the snake hole in the precedent is slightly relaxed. At best, it can only be said that it has one and a half dimensions.
China's calligraphy is full of beautiful things: the mysterious beauty of Oracle Bone Inscriptions, the simple beauty of Zhong Ding's seal script, the dignified beauty of official script, the elegant beauty of regular script, the elegant beauty of running script Yushu, and the amazing beauty of cursive writing.
Words as they are: Wang Xizhi, Chu Suiliang, Yan Zhenqing, Liu Gongquan, Zhang Xu, Huai Su, Su, Huang, Mi, Cai? Famous artists come forth in large numbers, each leading the way. Calligraphy accommodates a hundred schools of thought, but each school shows its own magnificent beauty, which stems from the great freedom of Chinese characters.
The degree of freedom comes from multidimensional space. There are six kinds of Chinese characters: pictographic, pointing, knowing, pictophonetic, quasi-subject and borrowing. Ideographic characters are transformed from graphics and are naturally two-dimensional. Most of the other five books also have pictographic characters, such as pictophonetic characters, semi-pictographic characters and semi-pictophonetic characters, which are not enough for two-dimensional accommodation. Moreover, Chinese characters are composed of strokes such as horizontal, vertical, dot, left and right, just like the jigsaw puzzle on the desktop, which needs two-dimensional freedom to spell out ever-changing beautiful patterns. It can be seen that Chinese characters are essentially two-dimensional, which lays a solid foundation for the beauty of Chinese characters.
Calligraphy stresses structure. Frame is similar to the composition of painting, which requires at least a large number of degrees of freedom provided by two-dimensional space, so that the glyph can be mentioned in the frame, the characteristics of seal script, official script, regular script and line grass can be reflected, and the different styles of each family can be vividly expressed.
Calligraphy pays attention to hanging the wrist, the calligrapher's wrist is suspended, and he can swing his arm at will, giving full play to his freedom in three-dimensional space.
Calligraphy pays attention to brushwork, largely because of its unique tools, and the brush is the most magical of all pens. Pens also have degrees of freedom: ballpoint pens have only one degree of freedom. The nib of quill pen and pen can be slightly wider, and its degree of freedom is between one and two. A brush consists of thousands of hairs, each of which can be bent to different degrees, with more than a thousand degrees of freedom. It is precisely because the brush has so many degrees of freedom that calligraphers can write thousands of words freely. Who said that it is inappropriate to respect the writing brush as the king of ten thousand pens?
Proper use of multiple degrees of freedom of brush can increase the dimension of calligraphy. The abundance and shortage of ink storage, the weight of pen handling, and the correct and wonderful use of pen tips are all in one thought. Yan Zhenqing's regular script is solemn, vigorous and rich in texture, and Liu Gongquan's brushwork is vigorous, straight and skinny, which can produce a three-dimensional visual effect. Don't you believe it? Exhausted praise day: penetrating the back of the paper. If there is no third dimension perpendicular to the two-dimensional paper, where will it penetrate?
Interpretation of the beauty of Chinese characters 1 The following analysis shows that () (3 points) does not conform to the meaning of the text.
A. Birds in the air enjoy a higher degree of freedom than vilen war horses, which proves that the more dimensions, the greater the degree of freedom.
B the freedom of Chinese characters comes from its multidimensional space and the magnificent personality and style of many calligraphers.
C. Brush can create more dimensions, because it has more freedom than other writing tools.
D Yan Liu's calligraphy permeates the back of the paper, which can produce a visual stereoscopic effect and reflect the stereoscopic effect of China's calligraphy.
2. With the full text, answer the following questions. (7 points)
What did the author say in the second paragraph? Three dimensions? What do you mean? (2 points)
(2) Why can China's calligraphy be created? Three dimensions? Effect? (5 points)
The answer to the explanatory reading of the beauty of Chinese characters is1.b.