The third grade composition is about the traditional culture of China.

Calligraphy: The development history of China's calligraphy can be traced back to Shang Dynasty at least. However, from Oracle Bone Inscriptions in Shang Dynasty to Da Zhuan of Jin Wen, although people consciously or unconsciously pursue the beauty of calligraphy, calligraphy is a practical tool to a great extent, and it has not become an independent art form-the object of appreciation and criticism, and the record of calligraphy criticism is hard to see, so the history of calligraphy criticism is not as long as that of calligraphy criticism. If we start from the Qin Dynasty, which produced Xiao Zhuan Shu and the first calligraphers (Li Si, Hu Wujing and Zhao Gao) with obvious artistic aesthetic form, the long history of calligraphy criticism until the demise of 19 1 1 Qing Dynasty was completely completed under the cover of feudal social system.

Under the feudal system, there was a strict hierarchy from the common people to the emperor. If the lower class wants to enter the upper class or the ruling class, it must pass the selection, which developed into the imperial examination in Sui and Tang Dynasties. The Records of the Arts and Literature of Han Dynasty contains: "Han Xing, Xiao He said in a rough way:' Those who can satirize more than 9,000 books in the Imperial Examination will be history. "In addition, the six-body examination is used, and the most important courses are minister history, suggestion history, history books and history books. The government and the people wrote a letter, and it was disintegrated when the words were not correct. In addition, Ma Zonghuo said in the Book of the Woods that he attached great importance to calligraphy in the Tang Dynasty: "Take books as teaching to imitate Zhou, take scholars from books to imitate Han, and set doctors from books to imitate gold." The study of calligraphy began in the Tang Dynasty. "Since the Tang Dynasty, calligraphy has played an increasingly important role in the selection. Therefore, scholars all over the world are committed to this, and the brush is in a dominant position in the field of ancient writing tools. The imperial examination and practical purpose promoted the popularization and improvement of calligraphy, which not only trained generations of calligraphers, but also produced countless calligraphy critics and appreciators.

In addition to the imperial examination system, the personal likes and dislikes of the upper ruling class often affect the development of calligraphy in this era. Li Shimin, Emperor Taizong, appreciated Wang Xizhi's calligraphy very much. He not only taught himself Wang Xizhi's calligraphy, but also wrote the Book of Jin to praise him, which established Wang Xizhi's supreme position in the history of China's calligraphy, so that later generations were proud of Wang Xizhi's true biography, and even in calligraphy criticism, Wang Xizhi's calligraphy was often taken as the standard. And Song Huizong Evonne, who is not only an excellent painter, but also an advocate and organizer of artistic activities. He expanded the Hanlin Painting and Calligraphy Institute, concentrated many painters and calligraphers, edited Xuan He Shu Pu, organized the publication and engraving of Daguan Tie, and widely collected scattered folk cultural relics, which was not only conducive to the spread and development of art at that time, but also had a great influence on later generations. On the other hand, the negative influence of the personal likes and dislikes of the upper ruling class can not be ignored. Kangxi liked Dong Qichang's calligraphy in the early Qing Dynasty and learned it at once. Later, Qianlong admired Zhao Mengfu, so Zhao Shu became popular in China. Therefore, calligraphy in the early Qing Dynasty was inferior to that in the Ming and Qing Dynasties. In addition, the calligraphy quality of the powerful ministers will also affect the current trend, such as Li Zongge, Cai Xiang, Wang Anshi in the Song Dynasty, Weng Tonghe in the Qing Dynasty and so on. This calligraphy style, which values high officials' generosity and likes and dislikes, violates the development law of calligraphy art, which not only hinders and restricts the development of calligraphy, but also distorts the objective standards of calligraphy criticism.

If the imperial examinations and the likes and dislikes of high-ranking officials influence calligraphy from top to bottom, then various social trends of thought produced in different times have an influence from bottom to top, which is more in line with the objective requirements of calligraphy development. Because the emergence of every social trend of thought is closely related to the aesthetics and philosophy of the previous era and this era, it often reflects the overall mental outlook of this society, from which we can also see its influence on all aspects of calligraphy art at that time. The wind of "metaphysical words" in Wei and Jin Dynasties was the product of the social breakthrough in Confucian ethics and Taoist philosophy worship at that time, and it was also the trend of thought of the times that produced Wang Xizhi's calligraphy of "no stimulation, no strictness, far from the rules". In the early years of the Tang Dynasty, books were still very thin and hard. With the development of social economy in the Tang Dynasty, the culture and society flourished. In line with this, the social aesthetics in the early Tang Dynasty changed from thin to fat, and Yan Zhenqing's Shu Lang calligraphy in this era naturally became the product and typical representative of this trend of thought. The great development of cursive script in Song Dynasty can also be regarded as the result of getting rid of the formation of regular script with strict laws and regulations in Tang Dynasty and pursuing the freehand brushwork style in Song Dynasty. In addition, the "book-oriented style" in the Ming Dynasty and the rise of epigraphy in the Qing Dynasty are both innovative ideas put forward by people after in-depth thinking about the disadvantages of the previous paragraph of calligraphy. Their correctness and great influence on the development of calligraphy have been confirmed by irrefutable facts, and this influence is fundamental.

In addition to the above aspects, when studying the history of calligraphy, we will also find that the development of calligraphy in each era has its own characteristics and there are considerable differences. Although this difference is not immediately apparent, it is often the result of long-term accumulation, but the influence of regime change on calligraphy is objective. Shortly after Qin unified Xiao Zhuan, its dominant position was replaced by Li Shu of Han Dynasty. By Wei and Jin Dynasties, Li Shu was covered by cursive script. Is there no other reason besides the development law of the script itself? Then why did the cursive script, which was basically produced in parallel with the official script, not mature and developed in the Han Dynasty? Why did the official script just mature in the Eastern Han Dynasty and was replaced by cursive script in the Wei and Jin Dynasties? Why did the regular script tablet prevail in the Northern Wei Dynasty? Why did calligraphy flourish in the Tang Dynasty, but it became a masterpiece in the Five Dynasties? Why did the Song Dynasty advocate freehand brushwork while the Yuan Dynasty advocated retro? ..... Because every regime change is not only a destruction of the existing achievements, but also a constantly changing ruling ideology in line with the development of the situation. The prosperity of the Han dynasty inevitably needs an art form that is suitable for it, and the simplicity and flying momentum of the official script are the products of this need; Wei and Jin dynasties were partial to the south of the Yangtze River, not enterprising, and focused on elegance and Tao Qing. How can official script be more suitable for free and eclectic writing than upward cursive script? The Northern Dynasty was ruled by foreigners, promoted Buddhism, advocated the afterlife, and prevailed in thick burial, so the epitaph flourished; In the Five Dynasties and Ten Countries, there were constant wars, people were in dire straits, and everyone was in danger. Why does he take time to engage in art? Zhao Mengfu, a foreigner in the Yuan Dynasty, advocated the gentle and charming calligraphy style and set off the retro style in order to dispel people's dissatisfaction with reality and make them content with the status quo ... It is this time-varying ruling thought that has exerted a subtle influence on the formation of calligraphy styles in various dynasties in the history of calligraphy.

In the feudal society of China, since the Han Dynasty, the ruling ideology adopted by the ruling class was basically orthodox Confucian academic ideology. Confucianism, founded by Confucius and Mencius, advocates monarchical power, establishes a strict hierarchical system, requires loyalty and filial piety to subjects, strengthens rule with a series of ethical norms, advocates "unity of courtesy and benevolence" and advocates "neutralization". On the one hand, Confucianism can meet the needs of feudal rulers to establish centralized politics, and plays an important role in maintaining social stability and consolidating ruling order; On the other hand, it makes people physically and mentally imprisoned in the cage of feudal absolutism, which greatly limits the free play of human nature.

When people can't escape the strong existence of Confucian ethics in reality, they will pursue the sky of freedom in the spiritual world, and literature and art will become a vast Yuan Ye for literati to gallop freely, so seeking detachment in reality has become the spiritual ideal of intellectuals in feudal society. Taoist theory is just suitable for people's spiritual needs.

If Confucianism plays a leading role in China's traditional political culture, ethics, education, customs and national spirit, then Taoism should play a key role in China's traditional philosophy, literature, art, sports and other fields. However, the two are not absolute, but they are mutually integrated and infiltrated. Therefore, calligraphy not only talks about the opposition between yin and yang, such as hidden front and exposed front, rigidity and softness, speed and astringency, but also talks about the beauty and harmony between hidden front and exposed front. We should not only pay attention to the stability of order-pay attention to statutes, but also pay attention to the freedom of personality-respect meaning and feelings; It not only pays attention to people's loyalty, but also pays attention to the detachment and freedom of calligraphy ... but fundamentally, the influence of Taoist thought on calligraphy art is more fundamental and more in line with the law of artistic development. Because there is no innovation in art, there is no life, and artists cannot create great works without their own personality freedom.

Therefore, the ideological and cultural basis for the existence and development of calligraphy criticism in China and even in feudal society is China's traditional cultural thought, which takes Taoism as the core and integrates the essence of Confucianism, Mohism, Legalism, and famous artists.

The history of calligraphy criticism should be consistent with the history of calligraphy, because there is bound to be the infiltration of human consciousness (including aesthetic consciousness), which will inevitably involve comparison and selection, because without identification and judgment, it is impossible to distinguish and use. However, the early history of calligraphy was attached to the practical purpose of calligraphy, even though the remains of words at that time were called calligraphy works, they were added by later generations. Therefore, even if there were any aesthetics, comments, comparisons and judgments about writing at that time, it was only simple and practical, and did not rise to the height of real artistic aesthetics, so it could not be called calligraphy criticism. If the real calligraphy criticism, I think it should appear at least before the Qin Dynasty. Because Li Si in Qin Dynasty was recognized as a great calligrapher, he was not only ordered to unify the six languages into Xiao Zhuan, but also created a standard model of Xiao Zhuan. Li Si was chosen to write all the important places where words were used, whether it was the stone carvings that Qin Shihuang set up to show off his literary talents and martial arts when he traveled to the counties, or martial arts and imperial edicts. Presumably people's appreciation of calligraphy was very popular at that time. But unfortunately, before or during the Qin Dynasty, we didn't see any definite evidence about this. The earliest special calligraphy materials we can see should be Zhao Yi's non-cursive script in the Eastern Han Dynasty. Since then, a large number of calligraphy criticism documents have appeared, some in independent volumes, some in the form of prose, some in the form of poetry, and some in the form of inscriptions ... * * * has formed a unique treasure house of calligraphy criticism documents in China. Throughout the history of China's calligraphy criticism, we can't help sighing for the great creation of our ancestors and being proud of the excellent cultural tradition.