Insights on Chinese traditional culture of calligraphy thought

Chinese charisma will live on through the ages

Traditional Chinese Culture: Calligraphy

There are only a few nationalities in the world that possess the art of calligraphy, and among them, Chinese calligraphy is the only one that has the longest history, spreads the widest, and maintains the closest relationship with the culture of the nation.

Chinese calligraphy has a long history and constitutes the historical trajectory of the development and evolution of the aesthetic consciousness of Chinese calligraphy from ancient times to the present. The development of calligraphy style and aesthetic consciousness represents the characterization of national culture, and is the embodiment of the aesthetic fashion and aesthetic interest of the times. Generally speaking, from the nodes of history and theory, the development of Chinese calligraphy aesthetic thought is divided into eight parts, i.e., Han people are still qi, Wei and Jin people are still rhyme, North and South Dynasties are still god, Sui and Tang people are still method, Song people are still meaning, Yuan people are still state, Ming people are still interesting, and Qing people are still simple. This is but to summarize the main trend of calligraphy aesthetic thought of a certain era, mainly on its most concentrated, the most specific features of the spirit of calligraphy. Any era of calligraphy aesthetic thought is rich and diverse, but each era has a representative of the aesthetic characteristics of the era of theoretical thinking.

Calligraphy is the soul of Chinese art. Calligraphy is the soul of Chinese art. The beauty of calligraphy is expressed in two aspects: "real" and "imaginary". The "real" aspect is tangible. It includes the use of pen, structure, chapter and so on; "virtual" aspect is intangible, including the spirit, charm, mood and so on. The two aspects of interdependence, each other for use, *** with the performance of the aesthetic value of the calligraphy. Brushwork, structure, and chapter, are all visible forms. The pen has a delay, undulation, twists and turns of the points, the stroke has a positive side, hide and expose the difference, the shape of the brush has square and round, but also to speak of the force and momentum; structure has a strange and positive, dense and sparse, and other jurisprudence; chapters have a guest and master, real and imaginary, avoiding the, chi veins and rows and columns of forms and other methods of expression. The three are both different and complementary. Charm, charm, mood, are intangible things, he must be tangible through the pen, structure and chapter to show. Charm is the soul of the art of calligraphy, the ancients commented on calligraphy, long ago, "Charm is the top, the shape of the quality of the second", but at the same time pointed out that "the rules are lost, the gods do not exist". The beauty of the spirit can only be expressed through the beauty of the form. Charm is the life of the art of calligraphy, the bridge between form and god, and the medium for expressing emotions. When a calligrapher has mastered the skillful techniques, when the luck reaches the tip of the brush, when the brush is executed with qi, and when the qi is connected between the dots and the strokes, the qi and the charm are manifested. Context is also the inner beauty of the art of calligraphy, including mood, mood, style, character and other connotations. He and the charm, charm, compared to the author of the subjective spirit of the performance, is a higher level of aesthetic content of calligraphy. Look at the Chinese calligraphy, the strange precipitous craggy, pale and clear, a good piece of calligraphy, but feel the momentum of bold, giving people a kind of clear strength and spontaneity, pale and strange art feeling. "Chinese Calligraphy", this concept refers first of all to the ink inscription written on paper, although the history of Chinese calligraphy in the classical period carved on the stone of the book and not less than written on paper or silk calligraphy. For this reason, it is difficult for some to consider oracle bones and bronzes as works of calligraphy. Chinese calligraphy, it refers to all hieroglyphic symbols created by hand. That is to say, regardless of the specific materials and tools used for writing, and without any limitation of time. Thus, Chinese art scholars include virtually all inscribed artifacts in this concept, from the oracle bones of the Yin Dynasty (mid-2OOO BC) to the bronze vessels of the Zhou DynastyFrom the point of view of European aesthetics, calligraphy has to do first and foremost with inscriptions on paper, and very little with inscriptions on other materials.

There are only a few nations in the world that possess the art of calligraphy, and among them, Chinese calligraphy is the only one with the longest history, the widest dissemination, and the closest relationship with national culture.

Calligraphy seems to be very simple, as if anyone who can write Chinese characters can participate in it, and if you can use a brush to write Chinese characters on rice paper, it seems that you have become a calligrapher. In fact, this is not the case. Calligraphy, as a kind of artistic creation, is subtle and difficult. It is easy to write Chinese characters, but there are not many calligraphers who have really entered the realm of the art of calligraphy.

Calligraphy is on white paper, relying on the flexibility of the movement of the brush and the richness of the ink, leaving traces of the phase, the formation of meaningful black and white composition on the paper, so calligraphy is the art of composition; the calligrapher's pen is an extension of his fingers, the pen's swiftness, slowness, flying, staccato, driven by the subjective, to become the outlet of his emotions, emotions, and that is, the spirit of the flying dragons, the flying dragon walks the phoenix. The main purpose.

So, calligraphy is also a kind of expressive art; Calligraphy can be through the works of the calligrapher's personal feelings of life, knowledge, cultivation, personality and so on quietly refracted, so there are usually "words like his person", "book for the heart of the painting" said; Calligraphy can also be used for inscriptions, writing plaques, therefore, it is also a practical art. In short, calligraphy, is a more comprehensive art, is more inclined to express the subjective spirit of the art.

Calligraphy and painting, on the other hand, dominate the other categories of Chinese art, and are ranked as the first of the Chinese fine arts. When calligraphy and painting are mentioned together, calligraphy is placed in front of painting and called "calligraphy and painting", such as "calligraphy and painting have the same origin", "qin, qi, calligraphy and painting", "calligraphy and painting edge", "calligraphy and painting edge", "calligraphy and painting edge" and "calligraphy and painting edge". Calligraphy and Painting", "Calligraphy and Painting", "Calligraphy and Painting", "Calligraphy and Painting", and so on. The relationship between calligraphy and traditional Chinese painting is very close. Especially after the emergence of Song and Yuan literati paintings, painting brushwork from calligraphy, ink and ink writing and calligraphy of rows and cursive interest in common. Ancient Chinese sculpture also contains the characteristics of calligraphy. The texture of ancient Chinese sculpture is a combination of lines, and the decorative nature of the modeling is intrinsically linked to the seal script of calligraphy. Ancient Chinese architecture from the layout to the main beams and columns structure, all follow the symmetry, balance, master-slave relationship and other laws, garden architecture in the implicit, borrowed scenery, as well as pavilions, terraces, buildings and pavilions in pursuit of ethereal, flying, etc. are closely related to the calligraphy of the knot, chapter and rhythm, rhythm and rhyme. As for arts and crafts and folk art, they are also influenced by calligraphy to varying degrees. Calligraphy can be regarded as the soul of Chinese art.

The plastic arts are composed of visual image factors, the smallest unit of which is the "point", and the trajectory of the "point" is the "line", and the organic combination of the point and the line constitutes calligraphy. Combination of points and lines, constituting calligraphy, "line" trajectory and the formation of "surface", the organic combination of points, lines and surfaces, constituting paintings, "surface" trajectory, the formation of volume, and then constitutes sculpture, arts and crafts, and architecture.