Wang Muwu
Poetry and calligraphy are the essence of China traditional culture. It can be said that these two different art forms have been closely combined for more than 1000 years. Poetry takes books as its connotation and books as its representation. Poetry and books are integrated into one, which are accompanied by each other and complement each other.
Because China is a country of poetry, and the essence of calligraphy is a practical art closely related to daily life, China has always had the habit of combining poetry with books, and recorded his own or others' poems in the form of calligraphy, so that he can read poems and words and enjoy them both. This phenomenon has not been lacking in past dynasties, especially after the Song Dynasty. As far as the calligraphy works that can be seen now are concerned, the calligraphy works that write poems account for a large proportion, and many calligraphy posts are poetry works, such as Cai Xiang's self-written poems, Su Shi's Huangzhou cold food poems, Huang Tingjian's Songfengge poems, Mi Fei's Tiaoxi poems, Shu Sutie's poems, Bai Zhongyue's poems and so on. In modern times, the phenomenon that calligraphy takes poetry as the writing object is more common, almost to the point where speakers are all over the world.
That's why this phenomenon occurs. According to the author's analysis, there are at least five reasons:
First of all, from the content point of view, poetry works generally have the characteristics of beautiful rhyme and moving rhythm, which are easy to infect writers, enrich imagination, stimulate enthusiasm and get inspiration from them, so as to give full play to them in creation and make books look more attractive; Secondly, most poetry works are profound in artistic conception and full of philosophy. If it is written as a calligraphy work and displayed, it can make the poems and books set each other off and appreciate them properly. Thirdly, poetry works are generally short and pithy because of their concentrated content, which is very suitable for daily hanging in the form of banners, stripes, squares or sectors; Fourthly, because the language of poetry works is concise and there are few repeated words, the confusion of too many repeated words in general articles can be avoided. Fifth, because poetry has a fixed format and rules, calligraphy generally has no sentence breaks from beginning to end, so writing poetry can make people who have a general understanding of poetic rhyme have no language barriers in reading and can understand and read.
It is precisely because of the above reasons that poetry and calligraphy have been closely related for thousands of years, accompanying each other and never giving up. Especially in recent ten years, no matter what level of calligraphy exhibitions, calligraphy competitions, or calligraphy works published in books and periodicals, almost half of them are poems, and these books are no exception, such as Wang Zhihuan's Dengque Lake, a night-mooring near maple bridge, Du Fu's Jueju, Wei's Xixi Chuzhou and Li Bai's Dengzhou. Although these famous articles have far-reaching artistic conception, catchy words are very suitable for writing. But when everyone is crowded on this narrow road, it gives people a feeling of deja vu.
The best way to solve this problem is to insist on writing poems by yourself. In fact, there is no need to list those ancients, Huang Tingjian and Tang Yin. Even in modern times, there are many people who like to write their own poems, such as Mao Zedong, Guo Moruo, Qi Gong, Tsung i Jao, Shen Peng and Chen Yongzheng. They are not only calligraphers, but also poets and scholars. So most of their books are for writing their own poems.
Writing poems by yourself has many advantages. On the one hand, you can improve your knowledge, strengthen your extra-linguistic skills and make the book more bookish. Secondly, you can cultivate your own temperament, enhance the artistic taste of books, and make poetry books more aesthetic; Third, you can better integrate your emotions into the book, and the pen will rotate with your feelings to achieve the realm of integration. In short, there are advantages and disadvantages. Therefore, the author thinks that it is a good way to make your writing unique, not to follow other people's routines, not to stick to the rules, to write your own poems and books, and to combine them with each other and reflect each other.
For the original text, see:/contact/sgysf.asp.
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The Synchronous Phenomenon of China's Calligraphy and Poetry Development: Zhang Ziyan Z 1e
Abstract: Calligraphy and poetry are like brothers, working hand in hand in the long river of history, stumbling from distant primitive tribes. Like music, they linger among the beams, telling the aesthetic psychology and cultural tendency of their respective times. T & amp
Keywords: font, poetic style, calligraphy style and poetic style are synchronized.
China's calligraphy and poetry are closely related. Calligraphers in past dynasties are mostly poets or have poetic temperament, so it is unnecessary to list them one by one. However, the discussion about the relationship between calligraphy and poetry is extremely rare. This paper attempts to explore the origin of China's calligraphy and poetry from the synchronous phenomenon, and thus points out the development trend of calligraphy. Please correct me because the author's academic ability is limited. 7 & lt
First, the original text and the original poem uCK
Everyone who talks about art knows that poetry came into being earlier than words. Huai Nan Zi. "Tao Ying Xun" said: "Today's husband is holding a big tree, calling for bad promises before, and then responding, which is also a song of persuasion." Although there are no lyrics, this kind of labor cry is actually the origin of poetry. What Mr. Lu Xun said is "sailing in the air". Some people say that China's earliest poems are two-character poems, such as "playing songs" contained in the conspiracy theory of Gou Jian in the Spring and Autumn Period of Wu and Yue: "Breaking bamboo, continuing bamboo, flying soil, killing people." Let's call it a two-character poem, and it is a higher-level two-character poem. E7h#~_
The two-character poem consists of two-character slogan and narrative form of verb-object combination. It expressed the life scene and aesthetic ideal at that time with a very concise narrative. Primitive poetry reflects the simplicity of people's thoughts and the strong flavor of life at that time. G5B9)x
The earliest hieroglyphs in China were transformed from original paintings and descriptions. Mr Liu Zhengcheng once pointed out: "China's rock paintings originated in the Paleolithic Age about 20,000 years ago. ..... From what it depicts, it can be said that it is basically the artistic memory of the hunting nation. They should be earlier than the generation of words. " From rock paintings to Oracle Bone Inscriptions in Xia and Shang Dynasties, the formal formation of characters has gone through a long historical period. In this long time, characters stand out from rock paintings and evolve into image symbols, which we can call primitive characters. #
The characters in the original painting still retain the image of the original painting, and are not mature hieroglyphics. This is just like the original two-character poem developed from Yu Hang Yu Hang, which can only record some simple actions and scenes and cannot describe more complicated events. They also have obvious primitive birthmarks-limitations. qe+@dI
Although the appearance of primitive characters is later than that of poetry, its development track and people's thinking form are exactly the same as those of primitive poetry. Communication network (short for Communicating Net)
Second, Oracle Bone Inscriptions and Oracle Bone Inscriptions VJ e.
Mr. Cong Wenjun once said: "Before the Shang Dynasty, there was no mature writing system ... All the signs left over from the Shang culture showed that the ubiquitous religious activities catalyzed the formation of writing. ..... or, it is religion that breeds the original calligraphy art form and aesthetic concept, and it is the starting point of China's calligraphy art ". It's just that the divination of merchants is not a religious activity, but a way of life at that time. This lifestyle directly promotes the development of language and writing, and "catalyzes the formation of writing system". A large number of Oracle Bone Inscriptions unearthed today have completely broken through the previous two-character expression and formed a rugged sentence pattern based on two characters. It is on this basis that the four-character poems of later generations are summarized and sorted out. EQp@
As the content of Oracle Bone Inscriptions, it reflected people's yearning for peace and stability at that time, which obviously influenced Oracle Bone Inscriptions's modeling style. The shape of Oracle characters is shaped according to the principle of balance, and many characters adopt symmetrical structures, showing a unified and corresponding aesthetic feeling; Oracle Bone Inscriptions's line combination is basically horizontal and vertical, which embodies the unique calligraphy art form and aesthetic concept of the Chinese nation. `-
Three, four-character poems and inscriptions on bronze 2u]
Oracle Bone Inscriptions's becoming a bronze seal script (bronze inscription) is a great progress in the history of China writing, in which the change of writing method has played a direct role. Cong Wenjun believes that from Oracle Bone Inscriptions to Dazhuan, there has always been a form of "seal seal": "seal seal represents the writing method of commonly used Chinese characters. Even in solemn occasions such as bronze inscriptions, it emphasizes the value of norms and standards, and it still objectively reflects the ever-changing progress of writing methods, aesthetic purposes and their adjustment. Its changes can often be the style of calligraphy, the form and aesthetic feeling of lines, fonts and glyph structures. The symbolization of writing forms is deepening day by day, and calligraphy is constantly being liberated, enriched and developed. " Oracle Bone Inscriptions has been handed down as a written record, but we don't know the unwritten expressions (such as ballads) at that time. It's like when we study the Western Zhou Dynasty, we know little about the recorded documents at that time except the bronze inscriptions we can see. But I think the records of Zhou people must be based on writing brushes. The words on bronzes, like the inscriptions in Han and Tang dynasties, are for permanent commemoration, which really cannot be used as a way of daily recording. Mr. Cong's "Introduction to Seal Characters" is very insightful in explaining the emergence of seal characters from the perspective of words (rather than casting). 2#
The Western Zhou Dynasty was the prosperous period of China's early poems. "Duke Zhou's rites and music put the social life of Zhou people in a unified norm." The world is at peace, and the country is rich and strong. At that time, the creation of folk songs was extremely prosperous, covering the Weihe River, the Han River, the Yellow River and the Yangtze River valley, and the works of noble literati were also considerable. Before Confucius edited this poem, it was the official duty of the court for music officials to collect folk songs. From the poems, we can see that most of the ballads at that time were four-character poems with five, six and seven words in the middle. The words are neat and dignified, the chapters and sentences are repeated, and the sense of rhythm is strong, which is both rigorous and powerful. These ballads were not handed down in bronze inscriptions at that time, but have been handed down to this day in the form of later literature records. However, on the basis of the formal characteristics and artistic style of The Book of Songs, we can take into account the calligraphy characteristics of the bronze inscriptions. Extra small
Compared with Oracle Bone Inscriptions, the characters in inscriptions on bronze often have simpler strokes, simpler pictographic components and richer ideographic functions, and the aesthetic value of the characters occupies an important position. Contrast, balance, symmetry, harmony, rhythm and other aesthetic forms are clearly reflected in the conclusion of the bronze inscription. The unique atmosphere shown by the bronze inscription is closely related to the poetry at that time. k[iT]
Fourth, the emergence of fractional lines and the five-character poem m4$ "
From the ontological point of view, official script originated from the folk, and it is a font that appeared after the cursive script of seal script developed to a certain extent. Mr. Wo Xinghua's "On the Generation of Zishu" has made a very exact exposition on this, so I don't need to say more about it. But there are various factors besides the noumenon, which are synchronous with the development of poetry. ，@d*-
From the four-character poems in the Book of Songs to the five-character poems in the Han Dynasty, only one syllable is added to each sentence, and the expressive function is greatly enhanced. As Zhong Rong said in "Preface to Poetry", "Fu has a wide range of meanings. If it takes effect from wind and Sao, it can be much more; Every bitter article is very complicated and of little significance, and it was rarely used for reference in the past. The essence of the five words in literary works is that many works have flavor. " This development trend of poetry is exactly the same as calligraphy. The strokes of seal script are straight and expressionless, giving people the feeling of no beginning and no end; On the other hand, there is wave potential in the strokes of Zishu. With rhythmic expression, the pen begins with a hidden front and ends with a wave, which is a "line segment" with a beginning and an end. The turning point of seal script strokes focuses on "turning", such as the bending of lines; The book is divided into two strokes, with horizontal and vertical paintings connected at right angles. The conclusion of seal script is mainly in block letters, but the sub-seal script is naturally skewed due to the wave potential, and the composition of its left and right parts is like the separation of two strokes of "eight", so it is called eight-part essay. Therefore, the structure of the sub-script is more inclined to the balance of power. The composition of seal script is mainly vertical painting, which shows a tall and straight style; The sub-book is mainly horizontal painting, forming a wave potential, extending to the left and right, the characters moving horizontally, and so on. The gradual enrichment and perfection of these formal beauty can be seen from the comparison of bronze inscriptions, small seal characters, Han bamboo slips and Han steles. In short, the performance of seal script can no longer meet the needs of people's increasingly rich cultural life, and sub-seal script has gradually emerged and become the mainstream font. It not only makes writing more convenient and fast, but also enriches the aesthetic value and expression of words and makes the styles of words more diverse. dABt
The evolution of fonts is synchronous with the development of poetry at that time, and it is the inevitable result of historical and cultural development in different cultural fields at a certain stage. }ik
Verb (abbreviation of verb) replaces regular script and uses rhyme}
Regular script, also known as official script and real script. "Kay" means that this font can be used as a model of French, which is the standard font. This standard font has been used to this day, and there is no new variant, which shows its exemplary degree. eyL][-
Regular script inherits the horizontal and vertical characteristics of official script, and condenses the twists and turns of official script in the "four-character" pen, highlighting the image of turning and picking, enriching the brushwork and strokes of official script, and forming a dignified and rigorous new font with rich strokes. oHl|
Regular script originated from the end of Han Dynasty, developed in Wei, Jin, Southern and Northern Dynasties and flourished in Tang Dynasty, which coincided with the formation of regular poetry. Wen Yiduo said in the study of rhyme base: "The rhyme name was created by Shen Quanqi and Song in Tang Dynasty. But the origin of metrical poetry goes further. You can't draw clearly no matter how far away, because the process of poetry from ancient style to formal style is subtle and gradual. However, after careful tracing, no clues were found. The Five Laws began with Qi Liangdi's new style poems. But it was at this time that the Five Laws were fully prepared. Before that, there was actually a preliminary five laws, which grew stronger and matured gradually. This initial sign can be found in the works of Wei Jin people at the latest. " He added, "husband has seven laws and husband has five laws, but the number of words in each sentence is different, so there is no other difference at first." Therefore, the body of the five laws has been established, and the seven laws are also among them; There is no difference between the two. "Obviously, the development of regular script and regular script is synchronous. As we all know, it is no accident that the Tang Dynasty is not only the mature period of regular script development, but also the mature period of five-character and seven-character poems. In poetry, people in the Tang dynasty respected the law; In calligraphy, the Tang people respected the law. This aesthetic psychology of the Tang people acts on different artistic fields, which will naturally produce the same effect. 5M#P
The synchronization phenomenon of China's calligraphy and poetry we introduced above is only from the perspective of the evolution of fonts and poems, and the fonts we are discussing are limited to the positive body of words. I think this evolution is the main line of the development of China's calligraphy and poetry. It can be seen that in the Tang Dynasty, calligraphy and poetry have developed to a satisfactory position. In the following five dynasties, Liao, Song, Xia, Jin, Yuan, Ming and Qing all lingered in its shadow and it was difficult to make a breakthrough. th5eOi
Intransitive Verb Modern Poetry and Contemporary Calligraphy F9
The modern history of China is a history in which China began to learn advanced overseas culture consciously or unconsciously. This is manifested in the innovation of poetry. "A basic law of the development of China's poetry history is that the poetry system originated from the people, flourished in the literati, and finally became a major aesthetic paradigm. However, new poetry is an exception. The birth of new poetry is not the evolution of ontology, but the result of literary revolution. It is not a natural extension of classical poetry, but a form of poetry developed under the influence of western poetry. " This "exception" of new poetry makes it "not yet integrated into the psychology of modern China people, and far from being deeply rooted in the national mind". & gt^[V
When the New Culture Movement in China was in full swing, China's calligraphy was like a hermit in the mountains. There is no calligraphy outside the Chinese culture, and there is no external object to compare the old and new calligraphy. Therefore, it still maintains its traditional posture. It was not until the 1980s that I woke up from a big dream and began to move towards "modernity". f[
Although the rise of "modern" calligraphy style is not as deeply rooted in people's hearts as traditional calligraphy, just as new poetry has not taken root in the hearts of China people, tomorrow belongs to them.
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