Chinese calligraphy is the art of writing Chinese characters.In order to record the language and pass it on for a long time, the ancestors created Chinese characters.In the long-term writing practice of Chinese characters, the common requirements of the whole people have gradually formed. This requirement naturally becomes a social agreement. This agreement can be said to be a law or a law.The art of Chinese calligraphy is the art that meets the requirements of Chinese writing standards. Although writing and calligraphy are not the same concept, there is no insurmountable gap between them.The art of calligraphy must meet the basic requirements of writing. Simply put, the art of calligraphy is the art of writing. Only by pursuing beauty and sublimating to art can writing meet the aesthetic requirements of calligraphy art.How to make "characters" artistic is the ultimate goal pursued by calligraphers of all dynasties, and it is through this artistic "characters" that viewers get the influence of beauty.

Calligraphy art is not only a pure art for people to appreciate, but in the long course of its formation and development, it is always promoted by an extremely important factor, which is the wide application in real life. The art of calligraphy originated from practical needs.Before the creation of writing, the ancestors had a preference for engraving symbols on pottery pots and other daily utensils.At first, it was only for the record of famous utensils or decorative utensils.These realistic or abstract graphic runes eventually evolved into mature characters, which is inseparable from the ancestors' special liking for dot painting and the connotation contained in it.For the makers and users of utensils, there is no doubt that the depiction and drawing on the utensils are not only for practical purposes, but also for their beauty.Therefore, any form of stippling, and the cross-reference between stippling and stippling, requires the engraver to carefully consider how to look beautiful.Over time, it has tempered the Chinese nation's unique aesthetic awareness of characters.In this historical process, calligraphy has gradually become an important art style of the Chinese nation.In imperial temples, huts in the mountains, or Dingyi honors and stone drum columns, there are texts as decorations.In particular, according to the mountain and following the situation, you can directly write Dan and carve characters, or the diameter is as large as Zhang Yingzhang, and the nest [boke] is more than a foot, or it is like a fist and an inch. This kind of cliff art can be admired. Looking down, you can look sideways at each other, especially if you look at it in the shade of the sun, or appreciate it in the clouds, mist and rain.All of these reflect the spirit of calligraphy art.In daily life, it is either the sign of the place name, or the name of the restaurant, or the inscription of the utensils, or to commemorate the grand ceremony, or to record good deeds, or to commend heroes and sages, or to worship ancestors and sages. , There are strange fables, sentimental messages, even superstitious prayers, yearning wishes, etc., all of which need to be conveyed and realized with the help of words.It can be seen that the art of calligraphy, fake characters and boats of folk customs, has become a life-oriented art. It permeates people's hearts, is everywhere, and is cherished by society everywhere.On the vast territory of the motherland, there are as large as the cliff carvings and monuments of famous mountains and scenic spots, the bells, tripods and Yi wares of the prefectures and counties of the Celestial Dynasty, the couplets and lintels of the temples and halls, as small as the "nave" and "couplet" hanging in the middle. "Banners" and so on, the art of calligraphy penetrates into the corners of social life in different ways, and presents a unique charm with different calligraphy styles and styles anytime and anywhere.It is no exaggeration to say that the land of China is a natural museum of calligraphy (calligraphy works that can be respected as models and for people to imitate).The more places where the art of calligraphy can be displayed, the wider the field of application and the deeper the potential for development.Therefore, on the one hand, the art of calligraphy embellishes our lives; on the other hand, it is the rich and colorful life that promotes the development of calligraphy art all the time.The art of calligraphy can not only meet the needs of the society but also be pleasing to the eye, so it naturally has an opportunity to flourish.Especially in feudal society, it was the "stepping stone" for the world's scholars to enter the official ranks.Calligraphy in the Han Dynasty was used as the primary standard for selecting officials, and it was promoted as the final selection basis in the Tang Dynasty, which shows its profound influence; on the other hand, the art of calligraphy has been fully popularized by the strengthening of the political system It has caused the whole society to pay attention to calligraphy art and admire the psychology of calligraphy art.Therefore, calligraphers are entrusted by the sky, and the crowd yearns for them. There are national teachers in the court, rural sages in the fields, and folk homes in the land. Its people, and viewers, collectors, appraisers, and researchers emerge in endlessly, and everyone participates in it.This kind of potential cultural literacy deeply embedded in the masses shows a natural tradition and an invisible soul of national cohesion, which is a manifestation of the national spirit.For thousands of years, Chinese people have regarded the art of calligraphy as a symbol of the civilization of the Chinese nation. Not only that, but in Japan, Korea, Southeast Asia and other places where Chinese characters are influential, there is a custom of admiring calligraphy.It can be seen that Chinese calligraphy is indeed a wonderful flower in the art garden of the world, and it glows with ancient and young artistic brilliance.

After grasping the two major factors of practicality and beauty, we will find that the evolution of calligraphy art has a clear context in history.From oracle bone inscriptions to Zhenwen, from Zhenwen to Xiaozhuan, from Xiaozhuan to Fenli, from Fenli to regular script, as well as Zhangcao, Hanjian, Jincao, and running script, all of which are inevitable in historical development; The Wei stele of the Southern and Northern Dynasties, from Wei stele to Sui script, from Sui script to Tang Kai; From cursive cursive script in the Ming Dynasty to seal official script in the Qing Dynasty, they are also inevitable in the development of history.The development of Chinese calligraphy art, from simple to mature, from mature to perfect, from perfect to highlight a feature, from this feature to another feature, from a point to a line, from a line to a surface, and from a surface to A point, if it turns around, it keeps moving forward.There is an inevitable law, that is, every step of rotation is climbing towards a higher apex.When it surpasses the apex and forms a new starting point, other points are moving beyond it.The trajectories of this pursuit, clustered into a whole tendency, constitute the orthodoxy of history.

We should also realize that the formation and development of calligraphy art are inseparable from the progress of culture, science and technology in the history of our country.The emergence of oracle bone inscriptions and bronze inscriptions must be related to the application of cutting knife and casting technology, and the rise of Qin Zhuan and Han Li must be related to the manufacture of brushes, bamboo slips, silk and paper.Before the invention of paper, bamboo slips and silk were used as writing materials, but these were expensive and heavy, which were not convenient for people, so plant fiber paper was born.Due to the easy availability of raw materials, high quality and low price, the use of paper has gradually penetrated into people's cultural life, providing material guarantee for the innovation of calligraphy art.Later, the popularity of regular script and running cursive was bound to be related to the manufacture of ink and inkstone, and the development of paper and brushes. In particular, the continuous improvement of brushes undoubtedly had a positive impact on improving the expressiveness of calligraphy art.Before the Han Dynasty, the brushes were short and single. After the Jin Dynasty, the brushes were lengthened and the brushes were fuller. There were not only hard brushes, mixed brushes, but also soft brushes.The improvement and enrichment of the writing brush in terms of production technology and types enable it to fully exert its elasticity and easy to lift and press at will, which has effectively promoted the complete maturity of various fonts, and has achieved a large number of unique style and set an example for future generations. calligrapher.Therefore, to study the evolution of calligraphy art in our country, we must place it in the process of culture and technology in order to sort out the opportunity for its prosperity.

People who study the art of calligraphy, when they are addicted to Hanhai, will inevitably ponder: there are many kinds of characters in the world, why the writing of Chinese characters alone will form a profound (sui years old) elegant, profound and deified What about art? The reasons are complex, but the core lies in the inherent artistic quality of Chinese characters.As the result of the integration of rational thinking and artistic ingenuity, Chinese characters must contain rationality in their artistry, and reflect artistic wisdom from rationality. In short, the artistry of Chinese characters is precisely due to the underlying rationality of logical thinking. It depends on it.The rich images and plastic regularity of Chinese characters make Chinese writing possible enough to become a unique art.

Chinese characters, like other characters, started from describing the natural state of matter, that is, they all started from "pictograms".However, the writing of most countries has gradually embarked on the road of recording sound.Phonetic characters have their own advantages, but Chinese characters have been developed along the road of "ideographic".Our country has a vast territory, separated by Guanshan Mountains, and the transportation was inconvenient in ancient times, so it is difficult to unify the pronunciation.If we also take the road of phonetic representation, it will be impossible to connect people with different voices, let alone maintain unity.For this reason, our ancestors could only seek a text that transcends the limitation of phonetics and can be communicated, which can only follow the "pictographic" road of "painting into objects, and following the body" developed.In the stage of hieroglyphs, certain factors and characteristics of calligraphy art have been bred, such as the beauty of stippling, like "water", , using a curve and continuous points not only shows the state of many waters flowing together, but also conveys the smooth and psychic nature of water.Another example of abstract beauty, let me give you an example, look at the three characters of horse, deer, and tiger:

The characters for the same four-legged animals only draw two legs. Instead of using the most complicated drawing method to seek similarity, they use the most concise brushstrokes to outline the most prominent image: the word "horse" The horse's mane is highlighted, the "deer" character highlights the horns and hooves, and the "tiger" character highlights the head, body lines and tail.They have their own advantages and fully demonstrate the high cognitive ability of our ancestors' scientific mind and thinking of abstraction and generalization.As for "cow" and "sheep", we only grasp the characteristics of their heads, that is, the pointing of their hard horns, especially the character "sheep", which seems to have vivid appearance of soft ears and bleating.The rational abstraction in the creation of Chinese characters makes the art of calligraphy based on the exquisite artistic conception.Pictographs can reproduce nature condensedly, and have beauty factors in themselves, which can be regarded as the germ of calligraphy art.

Although the pictographic characters "take the body from near, and the objects from afar", after all, due to the limitation of the object to be described, some objects are not enough to describe their subtlety with pictographic methods, so there is the meaning of "visible and recognizable, and observable and visible". Refers to the word.However, pictograms and referring to things still can't cover complicated things, so there is a knowing word "compared with analogies to see instructions [hui command]".There are still some more complex and subtle meanings that need to be described, so there are pictophonetic characters that "use things as names, and take examples to complement each other".Although there are phonetic factors, the ideographic component attached to the shape is still the main composition of the character. It can be seen that the most prominent feature of Chinese characters is to express meaning with shape.This feature is mastered, enriched and transformed by calligraphers, and is expressed in calligraphy works in a beautiful form.

From the above discussion, we know that the artistic beauty of calligraphy and the expressiveness of characters do have something in common.The calligrapher learns from nature, observes the mood and interest of all things in nature, deeply experiences, and pours this experience into the bottom, so that the characters in his pen are full of authenticity and swaying, just like Cai Yong's "Bi Lun" It is stated in: "For the body of a book, you must enter its shape, if you are sitting or walking, if you are flying or moving, if you are coming or going, if you are lying or getting up, if you are sad or happy, if a nymph eats a tree leaf, if you are a sharp sword or a dagger. , like a strong bow and arrow, like water and fire, like clouds and mist, like the sun and the moon, if there are images in the vertical and horizontal directions, it can be called a book." On the other hand, through the ingenious calligraphy, we will naturally associate with Familiar situations in life are used as metaphors for the style of writing, such as flying geese, threatening beasts, and dragons playing in the water, or like a slender moon emerging, ripples forming lines, and eyes full of fragrance.It can be seen that from the conception to the completion of the book, there is always an artistic thought that not only shows the unique image beauty of Chinese characters but also comprehends the way of nature.

The art of calligraphy evolves along with the evolution of Chinese characters from form to meaning, from simple to complex.In this process, the pictographic traces of Chinese characters gradually fade, but they are only more abstract, that is, the connotation of meaning is deeper and wider. It should be said that the artistic quality of Chinese characters is more intense and profound. Furthermore, Chinese characters are based on "ge", which are always arranged one by one in practical applications.Although the shapes are different, some have fewer strokes, some have more strokes, some are square, some are round, some are slanted, some are straight, some are vertical, some are horizontal, in order not to be mistaken, they are always kept one by one. Individuals are independent but connected in a row, otherwise " " just may mistakenly lead to the word "Wang", and the words "period" and "Peng" may also mistakenly lead to the words "Qi", "Peng" and "Month". Therefore, Chinese characters must be based on the individual as a unit, and stand separately. Each has a boundary. No matter how many strokes a character has, it can be limited by a grid of the same size. We know that the area of ​​the grid as a boundary is the same, but the size of the outline of each Chinese character cannot be the same. This is Due to the different strokes around the characters and the different knots. However, in writing, these characters of different sizes must be placed in a square with the same area, and they are also required to appear to be of the same size. It seems that this is a The requirements of art actually still contain rational thinking.

Try to put the characters "人" and "口" together. It must be that "人" is bigger and "口" is smaller, but they look the same.If they really equate their occupied areas, the word "person" will appear smaller, while the word "mouth" will be too large, as shown in the accompanying drawing.Although this is a feeling, but this feeling is objective, it is determined by the strokes of the characters and the density and whiteness between the structures. Since each Chinese character maintains an independent territory of a square, the occupancy of this territory can naturally echo with other glyphs and open spaces, set off each other, and complement each other. An artistic quality of Chinese characters. Chinese characters are not only a product of reason, but also a crystallization of art.And further handing over this kind of crystallization to calligraphers for artistic creation will inevitably make the art of Chinese characters more brilliantly promoted.This is the need of history, the need of mankind.Although it is not necessarily true that people have consciously created it as art since its appearance, it is undeniable that its appearance and formation itself has congenitally condensed the quality of art.People's understanding continues to deepen, and they pour artistic milk into it at any time, consciously or unconsciously, so there have been many font evolutions in history, and various calligraphy styles have been produced. Brilliant book history. Chinese characters have their own artistic quality and structural rules, but at the same time they have infinite plasticity and creativity within the limited regularity. As the saying goes, words are like people.Indeed, everyone's words are different, just as everyone's face is different.In fact, how much difference can a person's face make?Eyes, nose, mouth... The parts are already very fixed, but the difference between beauty and beauty [yanchi Yanchi] is as huge as heaven and earth, some are really ugly, and some can be "overwhelming".The same is true for the writing of characters. It can be said that "the slightest loss is a thousand miles away" ("Han Shu Dongfang Shuo Zhuan").The structure of characters cannot be changed arbitrarily, but some of the characters we see can reach the sublime state of mind and hand returning, and some of them are difficult to form, and there are great differences between good and bad [ chi wing〕 cloud mud.This shows that the writing of Chinese characters has great initiative.After realizing this point, talented artists consciously use their wisdom and ingenuity to continuously explore the art of writing and summarize some rules. For example, the artistic treatment of writing can be summed up as the division and arrangement of a piece of "white ground", that is, the so-called "cloth white".The "white ground" left when writing and the black strokes must form a contrasting correspondence, and this contrasting correspondence must be considered as a whole, which is the so-called "count white as black".What a brilliant insight.Many calligraphers showed their unique style of boldness between "black" and "white", and created many immortal masterpieces. Another example is the rules of concluding words such as "揖把进进进", "受反反句". "Bow" is the attitude of the two parties, and "advance and retreat" is the mutual reward. First of all, the consciousness of the two parties is based on the principle of politeness. The two parties must advance and retreat. Those who should advance will advance, and those who have advanced will retreat on the other side. "Avoiding each other" means that each other should avoid each other, but also make up for each other. The former part should not only write about their own body shape, but also provide possible convenience for the arrangement of the latter part, and the latter part must Respond to the incoming situation and try to make up for what it lacks.This is all using etiquette to explain the principle of one-word unity, which is very profound. Some calligraphers use a dialectical and unified view to summarize the regularity of the book learning stage.For example, Sun Guoting’s Preface to Shupu in the Tang Dynasty: “Beginners study distribution, but seek fairness; if you can be fair, you must pursue danger; if you can be dangerous, return to fairness. At the beginning, it’s not enough, then it’s over, and later it’s a general meeting. At the time of the meeting, everyone’s books are old.” Sun’s “justness” at the beginning and “justness” at the end are not concepts on the same level.It begins as a general rule of structure and ends up as a fusion.Xiang Mu in the Ming Dynasty elaborated Sun's theory in more detail: "There are three precepts in learning books, the distribution of beginners, the abstinence of unevenness and sluggishness [qi period]; Avoid madness, strangeness and vulgarity. If it is uneven and shaky, it is like ears, eyes, mouth, nose and mouth are wide and long, standing upright and sitting on one side, not upright. Not living and stagnant, like clay sculptures and wood carvings, not talking or laughing, fixed and suffocated [zhi Wisdom], lifeless. Crazy and vulgar, such as drunkenness, witchcraft, beggars, villagers, talking nonsense, reckless and ugly. The regularity is summarized: "Students who study calligraphy first seek work from no work, and then seek no work from work. Those who do not work are extremely skilled. Zhuangzi's "Shanshui Chapter" said: "Both carved and cut, return to simplicity. 'A good husband!'" ("General Introduction to Books") Liu summed up the dialectical process of learning books as "not working" - "working" - "not working".The first "not working" means that the brush is rusty and sticky, which is naturally "not working" in the strokes.After a period of speculation and experience, the calligrapher may have a grasp of the traditional brushwork and rules, so the work becomes "workmanship".But changing to "work" may indicate the danger of falling into clichés, so we must go beyond the constraints of "work" and explore the natural interest of "not work", so that we can create our own style and not follow the trend.The "no work" on the second level corresponds to the unique state of abundance and spirituality that Sun Guoting said can only be achieved when "the meeting is held, and the books are old".From Sun Guoting, Xiang Mu to Liu Xizai, the dialectical logic in the process of learning books has been vividly and systematically realized. We must also point out emphatically that the reason why the writing of Chinese characters has become an artistic creation is far more than just a combination of patterns. More importantly, it combines the beauty of images with the beauty of appearance. Calligraphy art can be formed by putting together some strokes in the written text.Since it is the art of calligraphy, there is no doubt that what is written must be Chinese characters, and the characters must be connected to each other to express a certain meaning. In this way, the written works can be rich in connotation, profound in artistic conception, full of emotion and vitality.Therefore, calligraphers of all dynasties have emphasized the lyrical nature of calligraphy, using rhyme and method as the means, and expressing feelings and freehand brushwork as the purpose.As early as in "Fayan · Asking the God", it was pointed out that "words are the voice of the heart; calligraphy is the painting of the heart". Yang Xiong extended the ancient literary proposition of "poetry expresses ambition" to the art of calligraphy, clearly emphasizing The leading role of the author's thoughts and emotions in artistic creation.Cai Yong of the Eastern Han Dynasty pointed out in "Bi Lun" that "the book is loose. If you want to write, you should first loosen your arms, let your feelings be unrestrained, and then write." the prelude to the pen-first" argument.Wang Xizhi once said: "It is necessary to deepen the meaning of the book. There is meaning between the dots and paintings, and there is nothing to say." The basic requirements of calligraphy actually contain "law".The meaning is stored in the law, and the law is expressed outside the meaning. Only the combination of law and meaning can produce masterpieces handed down from generation to generation.For example, Yan Zhenqing's famous "Manuscript of Memorial to Nephew", which is a passionate mourning essay written in memory of his nephew Ji Ming.Ink stains on hemp paper, full of pain like cracked skin, sincere and earnest love, the writing flows together, like weeping like complaining, like accusation like calling out, it is indeed love to the writing, the writing is complete and the words are smooth, the pen follows the emotion, Hearty and unrestrained.Appreciate his works carefully, so that Zhuanzhuan is naturally Yan's own style, following the principles and methods, and responding to the festival, the spirit and luster overflowing from the lines, extremely exquisite, it can be said to have realized the highest ideal of Chinese calligraphy art.Only by pondering more on the basis of the artistic quality of Chinese characters and seeking information from a deeper state of mind can it be possible to create calligraphy works with real artistic vitality. The art of calligraphy in our country has climaxed in the long river of history, and strange peaks have emerged, and it has been painted into a long scroll with dazzling flowers and flowers.Calligraphy is a precious cultural heritage handed down to us by history. We must not only inherit it well, but also follow its inherent objective laws, surpass the peak of history, and open up new peaks required by the times. The future of art is brighter.