China's calligraphy is a unique art handed down from China for thousands of years, a masterpiece and a national quintessence. I brought this to you. I hope you l
China's calligraphy is a unique art handed down from China for thousands of years, a masterpiece and a national quintessence. I brought this to you. I hope you like it.
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The font basis of calligraphy beauty;
Xu Shen's Shuo Wen Jie Zi Xu defines the form of pictographic characters as "painting its objects, and cleaning its body", while the painted objects come from "taking things near and taking things far away". The word "painting" not only makes people believe that it will inevitably go through a quite long period of "painting" from the end of Han Dynasty. Moreover, the theory of "the homology of calligraphy and painting" has been derived, which has always influenced many basic viewpoints in the history of calligraphy.
As a character, it records the language word for word, and the image expressed by the form only needs to correspond to the character, while the image in painting is for aesthetics, and different purposes will lead to many differences. At the same time, language is much more complicated and precise than painting, and most of the meanings can't be expressed by painting. Therefore, the writing form has its own composition and combination rules.
It can be seen from Oracle Bone Inscriptions and inscriptions on bronze in Shang Dynasty that words should be concise and regular in order to record the language according to a certain word order, so as to realize the function of visual language symbols. In this regard, their arrangement and combination must be coordinated, and their style must meet the symbol requirements of the whole writing system, so that their configuration can be as independent and free as painting. That is to say, when the forerunner captures the object for the glyph, he must think ahead and refine it appropriately, so that the described object can enter a state of regular and coordinated symbol writing. This state is a simple style after abstract generalization, that is, an incomplete painting state.
In pictographic form, we can extract two basic elements. The first is the copy line that describes the object image. At the beginning of word-making, the abstract and generalized copying lines retain strong expressive and symbolic functions, and combine the meaning of words to remind people of the origin of objects; Or in order to arouse association, we can add it by leaps and bounds through thinking, and restore its original image at the level of consciousness, which corresponds to the vocabulary in the language to meet the needs of reading. In this way, copying lines should not only retain some painting features that can arouse association, but also be concise in writing, which is not possible with symbols with pure meaning L. Later, we can also confirm that pictographic form can only be an approximate "image", a symbol between image and abstraction, rather than the "yes" in the real state of painting 14, that is, a symbol that is essentially different from painting from the beginning of word creation. The second is the writing power of copying lines, that is, brushwork. The brushwork of copying lines can be grasped from the following aspects. First of all, the brushwork should be limited by copying, and it is difficult to draw the lines of the object vividly without a considerable degree of closeness to the painting techniques. Of course, this refers to the glyph state at the beginning of word creation, and the rapid transformation of hieroglyphics is also one of the congenital defects. Secondly, "image" is flexible and can be divided into seven or eight images or February, as long as the characters corresponding to the object images can be accurately recorded and distinguished from other similar glyphs. From the point of view of word-making, it must seek the exact correspondence between font style and concept with rational thinking; From the standpoint of using words, writing must be convenient and practical. Even if any intentional writing is destructive, it will gradually increase irrational elements. Here, people prefer to choose only two or three "images", or even fewer, in order to add some freedom to writing. When the simplification of writing occurs, the direct consequence is to promote the development of lines in a relatively independent way, and the brushwork also begins to change from "painting" to "writing". Thirdly, irrational writing will gradually dilute the copying meaning of lines, and the writing value of brushwork will gradually become prominent, which is generally recognized and accepted by people. Driven by the interaction of simplification and beautification, it will form its own positive development clues, and the evolution of calligraphy will begin.
Hieroglyphics not only can directly correspond to physical objects and images, but also contain some non-physical components that are easily overlooked, which plays an important role in the composition of early calligraphy beauty and the evolution of calligraphy. Source: Calligraphy Home, Calligraphy Home China Calligraphy Learning Network.
I have talked about the abstraction of pictographic forms before, which can be summarized as follows. The reduction of pictographic characters is only a vivid and intuitive symbol, and its correspondence with objects lies in similarities and differences. Its style does not serve the realism of objective things, but reminds people of the associative direction of word meaning, or reminds people of the relationship and state of each combination. The combination of abstraction and image perfectly realizes the function of visual language symbols from words to systems. This situation not only vividly conveys the unique charm of China culture and traces back the unique way of thinking and psychology of the Han nationality, but also contains infinite vitality and unparalleled plasticity and adaptability. However, under the cover of hieroglyphics and under the influence of traditional ideas and psychology, people ignore the fact that our ancestors did not confine themselves to each individual glyph when taking pictures, but made a general symbol induction. As a result, the cell configuration component or the auxiliary dotted line symbol has various configuration functions. It can also be said that the appearance style of a symbol is not like anything strictly, they are just similar to the same or similar characteristics of a certain type of object. For example, the "dot" in Oracle Bone Inscriptions can represent dozens of things with different shapes, such as abstract suggestive marks, liquids, fine-grained substances and regional objects, and the specific meaning can only be determined by the connection between parity and word meaning. Symbols themselves are abstract, and most of them only have the symbolic meaning of wandering widely, belonging to the non-object components of hieroglyphics.
In the primary stage of writing, non-object elements are a common phenomenon. They are rarely bound by replication and are relatively free non-mainstream configuration elements. When practical writing and simplification began to lead to the degeneration of pictographs that violated the original intention of word-making, non-object components became active, which further increased the ambiguity of the expressive meaning of pictographs and combined characters, strengthened the symbolic meaning of glyphs, and became one of the incentives for reshaping glyphs. Later, the phenomenon of adding decorative pens to glyphs, favoring glyphs or including regional classification of glyphs is also related to this.
Through the above analysis, we can have a general grasp of the font foundation of early calligraphy beauty. Li's On Biography sums up the pictographic beauty of seal script: "Three talents combine to prepare the realm of all things", which means fluency and harmony. Three talents refer to heaven, earth and people. Integration refers to the collection of species, that is, the idea that "sages have the ability to accumulate virtue by looking up and looking down at the world like the preface to justice in Zhouyi". According to the cultural spirit of Yi, Yi is the general term for change. Heaven and earth combine rigidity and softness, yin and yang coexist, and people are in between, forming the form of "three talents and two natures" Yin and yang live and hide, and cultivate everything in the world. People should follow the natural law of the change of yin and yang in heaven and earth and make a positive contribution. "Gangua" and "Kungua" have made it very clear that heaven and man are one, and things and I are one. From the analysis of the shape, character and morphological characteristics of objects in the past, image is an objective description of objects by people, and abstraction is a subjective transformation of objects by people. The former is to follow the laws of nature, while the latter is to actively realize the value of human beings, and the three talents of heaven, earth and human beings make things worthwhile, thus forming a symbol form with good artistry. If we don't understand this, calligraphy art will become passive water, and it will also make the mistake of underestimating the wisdom and civilization of the ancients. Source: Calligraphy Home, Calligraphy Home China Calligraphy Learning Network.
As we know, as early as in the painted pottery patterns of Banpo culture in the Neolithic Age, "deformed fish patterns" were already mature abstract and patterned works of art, and hieroglyphics as late as more than 2,000 years later, of course, will not be inferior to the simple description of objects. Moreover, the patterns of painted pottery have long proved that the ancients were very good at abstract generalization, even insisting on the compatibility and unity of image and abstraction is the basic spirit of China culture and art, but the official transformation ended the inheritance and development of Chinese character visualization patterns earlier. However, the facts do not stop there. Under the interaction of image and abstraction, pictographic characters and their combination of ideographic characters and pictophonetic characters, from the smallest unit configuration parts to the whole character and the whole writing system, are full of vitality, showing the rhythm of life, intuitively and truly embodying the aesthetic ideal of calligraphy in the book theory of Zhang Huai -if. Explain it with modern western art theory. It can be called "life form", and its connotation comes from the energetic symbolic copying writing.
According to Cai Yong's pen theory, the only criterion to measure the art of calligraphy is that "a book can only be called if it has vertical and horizontal images". For all the styles of Li Kai's cursive lines, this is only an aesthetic ideal, a psychological image obtained through association, and not a real existence. However, if we relate the compatibility of image and abstraction at the beginning of word creation, it is not difficult to find that "vertical and horizontal images" used to be a long-standing historical reality. Later, the ancient style was replaced by the evolution of modern style, and various styles of pictographic symbol system became the foil of commonly used words, and there was a difference between "the place where the author of insect seal script lived in primary school and the place where the grass official lived" Nevertheless, because of the coexistence of * * * in today's writing, people will always be reminded to try to make a new historical inquiry and get closer to the sacred view, mystery and tradition of saints, that is, the shaping of characters by the sky. In this way, with the help of analysis and interpretation, the historical reality precipitated in people's concepts and psychology will gradually be summarized as the aesthetic ideal and standard of calligraphy in writing today. This is the sublimation of the beauty of calligraphy from intuitive image to abstraction, and it is a qualitative leap. The proposition "portrait in vertical and horizontal directions" can just sum up the basic characteristics and beautiful essence of China's artificial reconstruction of nature in the primary stage of calligraphy. Zheng Gou's "Yan Ji" says: "The people of the former dynasty did not collapse. Both motion and stillness are present. " This kind of natural creation based on temperament instinct contains R's innate intuition and grasp of beauty, which is generally consistent with the western theory of "collective unconsciousness". In other words, the beauty of calligraphy in its initial state has the general attributes of primitive religion, culture and art and cannot be measured by the standards of later generations.