How Ancient Poetry Influences Calligraphy

Wang Muwu

Poetry and calligraphy are both the essence of traditional Chinese culture, and it can be said that for more than a thousand years, these two different forms of art have been tightly bound together, with poetry taking the book as the connotation, and the book as the appearance, and the combination of poetry and calligraphy accompanies and complements each other.

Because our country is a country of poetry, and the essence of calligraphy is a practical art closely related to daily life, therefore, China has always had the habit of combining poetry and books, will be their own or other people's poetry in the form of calligraphy recorded, so that the reading of poetry to see the word, to get a double enjoyment. This phenomenon has been practiced from generation to generation, especially after the Song Dynasty, when it became more common. Now we can see in the calligraphy works, writing poetry of the book occupies a large proportion, many posters itself is writing poetry works, such as Cai Xiang's "self-scripted poems", Su Shi's "Huangzhou Cold Food Poem", Huang Tingjian's "Pine Wind Pavilion Poetry", Mi Fu's "camphor creek poems", "Shusu post", "worship in the Yue order to make poems post", Tang Yin's "falling flowers poem", Dong Qichang's "book DuLu three", Wang Duo's "listen to Ying", "messenger", "the master qin song", "the messenger", "the master qin song", "the master qin song", "the master", "the master qin song", "the master", "the master". The Master's Qin Song, The Messenger, The Divine Fairy Song, Cursive Script Poetry Scroll, and so on, to name but a few. In modern times, calligraphy to poetry works as the object of writing phenomenon is more common, almost to the point that the heaving people all over the world.

So this phenomenon, according to the author's analysis, at least the following five reasons:

First of all, from the content, poetic works generally have a beautiful sound, rhythm and other characteristics, it is easy to make the writers infected, rich imagination, inspired by the enthusiasm, from which the inspiration, and thus in the creation of the full play, so that the book looks more rich charm; Secondly, most of the poetic works are profound, full of philosophy, will be written into a calligraphy work after the display, can make the poetry and the book of the two reflect each other, appreciate the poetry and the book of the appropriate; Thirdly, is the poetic works because of its content is concentrated, so the length of the work is generally relatively short and concise, very suitable for writing into a banner, ponchos, doufang or fan and other forms of daily hanging; Fourthly, is because of the language of the poetry works, repeat the Fourthly, because the language of poetic works is condensed, the repetition of words is less, so it can avoid the general article in the repetition of too many words in writing is difficult to deal with the confusion; Fifthly, because the poetry has a fixed format and law, and calligraphy generally from beginning to end without a break, writing poetry can make people who do not understand the poetic metrics of the recitation without language barriers, you can understand the read-through.

It is for the above reasons that poetry and calligraphy have been as close to each other as a pair of beloved children for more than a thousand years, following each other and accompanying each other without ever leaving. Especially in the last decade or so, no matter what level of calligraphy exhibition, calligraphy grand prix, or published in the calligraphy works in books and magazines, almost more than half of them are written poetry works, and these books are written and written almost without exception, such as Wang Zhilu's "climbed the storks and magpies", Zhang Ji's "maple bridge night", Du Fu's "absolute", Wei Yingwu's "Chuzhou western stream", Li Bai's "send Meng Haoran to the Guangling" by Li Bai, "All Night in the Mountain" by Wang Wei, "Full River Red - Raging Hair" by Yue Fei, "Nian Nujiao - Going East on the Yangtze River" by Su Shi, and other famous poems of the Tang and Song dynasties; even though these famous poems are characterized by far-reaching moods, catchiness, and words that are very suitable for writing. But when everyone is crammed into this narrow path, it gives people a sense of sameness and déjà vu.

To solve this problem, the best way is to insist on writing their own poetic works. In fact, do not have to list the ancient ones like Su Shi, Huang Tingjian, Tang Yin, that is, in the modern era, like to write their own poetic works are not lacking, such as Mao Zedong, Guo Moruo, Qigong, Rao Zongyi, Shen Peng, Chen Yongzheng, etc., they are not only a calligrapher, but also poets, scholars, so their books are mostly for the writing of their own poetic works.

Writing their own poetry works have many benefits, one can improve their own level of knowledge, strengthen the word outside the work, so that the book with more bookish components; two can cultivate their own temperament, enhance the artistic taste of the book, so that the poetry of the book is more aesthetic value; three can make their own emotions better into the book, pen with the feelings of the turn to achieve the integration of the two realms. In short, there are hundreds of benefits but no harm. So I think: to make their own unique way of writing, not to repeat the others set, not fall into the stereotypes of the times, writing their own poetic works, so that the poetry and books together, reflecting each other, should be a good way.

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The Synchronization of the Development of Chinese Calligraphy and Poetry Zhang Ziyan Z1e

Executive Summary: Calligraphy and poetry are like brothers, walking hand-in-hand in the long river of history, lumbering from the primitive tribes of the wilderness to the distant past. They are also like musical compositions, haunting and telling the aesthetic psychology and cultural tendencies of their respective times.T&

Keywords: font, poetry style, book style, poetry style, synchronizationUh

Chinese calligraphy and poetry have a close relationship, and it is needless to exemplify the fact that most of the calligraphers of all times have been poets or possessed the temperament of poets. However, discussions on the relationship between calligraphy and poetry are extremely rare. This paper tries to start from the synchronization phenomenon of Chinese calligraphy and poetry, to explore the origin of calligraphy and poetry, so as to point out the development tendency of calligraphy. Because of the author's limited academic ability, inaccuracies, please correct the party. 7<

I. Primitive writing and primitive poetry uCK

Talking about the arts are aware that the production of poetry is earlier than the text. The Huainanzi. Dao Ying training" said: "Today, the man who lifts a large wood, the former call evil Xu, the latter also responded to, this lifting heavy persuasive song also." Although there are no lyrics to this kind of labor call, it is actually the origin of poetry. Mr. Lu Xun's "Hangyu Hangyu" is one such example. Some people say that the earliest poems in China were two-character poems, such as "The Spring and Autumn Annals of Wu and Yue" (吳越春秋). The first Chinese poems were two-character poems, such as the "Bouncing Song" contained in "The Conspiracy of Goujian" (勾践阴谋外传), which reads, "Break the bamboo, renew the bamboo, fly the earth, and expel the Shinji." Let's call them two-character poems, and they are the more advanced ones.E7h#~_

The two-character poems are composed in the form of slogans with two words at a time, or in the form of narratives with a combination of verb and object. It is a very concise narrative that expresses the life situation and aesthetic ideal of the time. Primitive poetry reflects the simplicity of human thinking and the richness of life at that time.G5B9)x

The earliest hieroglyphic characters in China were transformed from primitive paintings and carvings. Mr. Liu Zhengcheng once pointed out that "the origin of Chinese petroglyphs dates back to the Paleolithic Age, more than 20,000 years ago. ...... From what it depicts, it can be said that it is basically the artistic memory of the hunting people. They should predate the creation of writing." From petroglyphs to the oracle bones of the Xia and Shang dynasties, the formalization of writing took place over a long period of history. During these long years, writing was diffusely shed from petroglyphs and evolved into figurative symbols, which we will call primitive writing.

Primitive writing still retains the figurative nature of primitive painting, and is not yet a mature hieroglyphic script. This is just as the primitive diatonic poems developed from the "Hangyu Hangyu", which could only record some simple actions and scenes, and could not yet narrate more complex events. They still have obvious primitive birthmarks - limitations. qe+@dI

The emergence of primitive writing was later than that of poetry, but the trajectory of its development and the form of people's thinking is the same as that of primitive poetry.CN

The second, oracle bone divination and oracle bone writing vj}e

Mr. Cong Wenjun once said: "There was no mature writing system before the Shang Dynasty,...... and all the signs left behind by the Shang culture indicate that it was precisely the ubiquitous religious activities that catalyzed the formation of the writing system. ...... In other words, it was religion that bred the primitive calligraphic art forms and aesthetic concepts, which was the starting point of Chinese calligraphic art." Such an assertion is basically correct. It is just that divination by merchants could not yet be taken as a religious activity; it was nothing more than a way of life at that time. This way of life directly promoted the development of language and writing, and "catalyzed the formation of the writing system". A large number of oracle bones excavated nowadays have completely broken through the previous two-character expression and formed a sentence pattern based on two characters. EQp@

The content of oracle bone divination reflects people's desire for peace and stability, which in turn affects the shape of the oracle bone inscriptions. The shape of oracle bone characters is modeled according to the principle of balance, and many characters adopt a symmetrical structure, showing a sense of unity and correspondence; the combination of oracle bone lines is also basically in accordance with the principle of horizontal and vertical, reflecting the unique calligraphic art forms and aesthetic concepts of the Chinese nation. `-

Three, quatrains and Jinwen 2u]

The change from oracle-bone script to the Big Seal Script (Jinwen) on bronzes is a major advance in the history of Chinese writing, in which the change in the method of writing plays a direct role. According to Mr. Cong Wenjun, from oracle bone script to the Big Seal Script, there is a form of "seal citation" in the middle of the process: "Seal citation represents the writing method of the commonly used characters in daily life, and even though it emphasizes more on the value of norms and standards in solemn occasions such as inscriptions on bronzes, it still objectively reflects the progress of writing methods, aesthetic purposes, and the constant change in writing methods," he said. It still objectively reflects the progress of writing method, aesthetic purpose and its adjustment, and its changes often bring changes to the calligraphic style, the form and aesthetic quality of the lines, the font, the structure of the characters, and even the concept of the composition of the symbols of the characters. The degree of symbolization of the written form deepened, and calligraphy was continuously liberated, enriched and developed." The oracle bone divinations have survived as a written record, while the unwritten expressions of the time (e.g., songs) are unknown to us. This is just as when we study the Western Zhou, we know very little about the written documents of the time, except for the bronze inscriptions that we can see. However, I think that the records of the people in the Zhou Dynasty must have been mainly written with brushes. The writing on bronzes, like the inscriptions of the Han and Tang dynasties, was meant to be a permanent reminder and could not be used as a way to keep track of daily events. Mr. Cong's "seal quote", from the perspective of writing (rather than from the perspective of casting and engraving) to explain the emergence of the big seal, is very insightful.2#

The Western Zhou period is the early poetry of the Chinese nation flourished, "the Duke of Zhou formulated the rites and music, and placed the social life of the Zhou people in a unified norms," he said. The Duke of Zhou made rituals and songs, and put the social life of the Zhou people in a unified norm." The world was at peace, and the country was prospering. At that time, the folk songs were extremely prosperous, spreading all over the Weishui, Hanshui, Yellow River and Yangtze River, and the works of the nobles and literati were also quite impressive. Before Confucius edited the Poetry, the collection of folk songs by music officials had long been an official business of the court. We can see from the Poetry that most of the ballads at that time were written in four lines, with some in five, six or seven lines. The words were neat and dignified, with overlapping phrases and a strong sense of rhythm, which were both strict and solemn and powerful. These songs were not passed down in the form of golden texts at that time, but in the form of transcripts in the literature of later generations. But we can look at the calligraphic characteristics of the Jinwen script in terms of the formal features and artistic style of the Book of Songs.XS

In comparison with the oracle-bone inscriptions, the Jinwen script is more concise in terms of strokes, more simplified in terms of hieroglyphic components, and richer in terms of ideograms, and the aesthetic value of the script occupies an important position. Contrast, balance, symmetry, harmony, rhythm and other aesthetic forms have been clearly embodied in the Jinwen style. The unique style of Jinwen was closely related to the poetry of that time.K[iT

Four, the emergence of the split script and the five-character poem m4$'

From the ontological point of view, the split script began in the folklore, and it was a kind of script that appeared after the development of cursive style of the seal script to a certain extent. Mr. Wo Xinghua's "On the Creation of Fenshu" has already discussed this very precisely, so I won't repeat it here. But the influences outside the ontology are also diverse, and here again there is a synchronization between it and the development of poetry. The four-character verse of the Classic of Poetry to the five-character verse of the Han Dynasty, with only one syllable added to each stanza, has greatly enhanced its expressive function. As Zhong Rong said in the Preface to the Poetry: "The four-character poem has a wide range of meanings, and it can be obtained by following the example of "Wind" and "Sao"; every bitter text is cumbersome and the meanings are few, so it is rare for the world to learn it. Five words in the words of the key, is the taste of all the work is also". This development trend of poetry is the same as that of calligraphy. In seal script, the strokes are straight, without expression, giving people the feeling of having no beginning and no end; in split script, the strokes appear to have waves, with rhythmic expression, starting with a hidden stroke and going backwards, and then finishing with a wave-like undulation, making it a "line segment" that has a beginning and an end. In the Seal Script, the emphasis is on the "turn" of the strokes, like the bending of an iron wire, while in the Fractional Script, the strokes are completed in two strokes, with the horizontal and vertical strokes connecting at right angles to each other. While the Seal Script is mainly flat, the Fractional Script is naturally skewed due to the waves, and its left and right parts are composed like the separation of the two strokes of the character "eight", hence the name "eight-fractional script", so the form of the Fractional Script is more inclined to the balancing of forces. Seal script is mainly composed of longitudinal strokes, which are straight and show a flat and upright appearance; while the split script is mainly composed of horizontal strokes, which form a wave, with its momentum extending to the left and right directions, and the characters show a flat and dynamic tendency, etc. These formal beauties have been gradually enriched and perfected. The gradual enrichment and perfection of these formal beauties can be seen in the comparison of Jinwen, Small Seal Script and Han Jian and Han Tablet. In short, the expressive nature of the seal script could not meet the needs of people's increasingly rich cultural life, and it was only then that the minute script gradually arose and became the mainstream script. It not only made the writing of characters more convenient and quicker, but also made the aesthetic value and expressiveness of characters richer and more diverse in style. dABt

The evolution of fonts coincidentally synchronized with the development of poetry at that time, which was the inevitable result of the development of history and culture up to a certain stage of manifestation between different cultural fields and the ****same development.} ik

Fifth, the generation of Regular Script and Rhythmic PoetryBy}

Regular Script, also known as Zhengshu, Zhenshu. "Regular Script" is used as a legal style and model, which means that this type of script can be used as a legal model, that is, a standard script. This standard font has been used until now, and no new variations have appeared, which shows the degree of its model. eyL][-

The Regular Script inherited the horizontal and vertical characteristics of the official script, and concentrated the ups and downs of the official script in the "press" strokes, which highlights the image of the twists and turns and the hooks, and enriches the official script's strokes and strokes, which forms the new typeface of solemn and rigorous strokes and rich strokes. oHl|

The Regular Script originated at the end of the Han Dynasty, developed in the Wei, Jin, and North and South Dynasties, and flourished in the Tang Dynasty, which was synchronized with the generation of the Ruling Poetry. Wen Yiduo in the "rhythmic poetry bottom study" said: "the name of the rhythmic poetry is the Tang Dynasty, Shen nephew, Song Zhiwen created. However, the origin of metered verse is much further back. How far back it goes cannot be clearly delineated, because the process of changing from the ancient style of poetry to the rhythmic style is subtle and gradual. However, if we look back in detail, we can find clues and traces. The five rhythms began with the new style of poetry in the Qi and Liang dynasties. But this is to say that it was only in this period that the five rhymes became complete. In fact, before this period, there had been a ruminate form of five rhythms that grew and matured over the years. The signs of this "ruminative" form can be found in the works of the Wei and Jin people at the latest." He also said, "the seven rhythms and five rhythms are only different in the number of words between the sentences, and there is no other difference at the beginning. Therefore, the body of the five rhythms has been formed, the seven rhythms are also in it; the two are not different from the origin of the reason." Obviously, the development of Regular Script and Rhythmic Poetry was synchronized. As we all know, it is no coincidence that the Tang Dynasty was not only a period of maturity for the development of Regular Script, but also a period of maturity for five- and seven-line poems. In poetry, the Tang people were still legalistic; in calligraphy, the Tang people were still legalistic. This aesthetic mentality of the Tang people is applied to different fields of art, and naturally, there will be similarities and differences.5M#P

The synchronization of Chinese calligraphy and poetry that we have described above is only from the point of view of the evolution of fonts and poetic styles, and the fonts that we have discussed are only limited to the orthographic forms of the texts. I think this line of evolution is the main line of development of Chinese calligraphy and poetry. We can see from this: by the Tang Dynasty, both calligraphy and poetry had developed to a complete institutionalization. The subsequent Five Dynasties, Liao, Song, Xia, Jin, Yuan, Ming, and Qing dynasties all hovered in its shadow, making it difficult to make a breakthrough. th5eOi

Sixth, Modern Poetry and Current Calligraphy}F9

China's modern history is one in which the country has begun to learn from the advanced cultures of overseas countries, voluntarily or involuntarily. This is prominently shown in the revolutionization of poetry. "A basic pattern in the development of the history of Chinese poetry is that the institution of poetry began with the people, flourished with the scribes, and finally became a major aesthetic paradigm. However, new poetry is an exception. The birth of new poetry was not an ontological evolution, but the result of a 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 has made it "still unable to penetrate into the psyche of modern Chinese people, and still far from penetrating into the national mind". >^[V

While China's new cultural movement was in full swing, Chinese calligraphy was like a hermit in the mountains, "unaware of the Han Dynasty, regardless of the Wei and Jin dynasties". There was no calligraphy outside the Han culture, and there was no outside object to compare the old and the new of calligraphy. Therefore, it still maintains its traditional posture. It was not until the 1980s that it awoke from its dream and began to move towards "modernity". f[

The rise of the "modern" style of calligraphy is still not as deep as the origins of traditional calligraphy, just as the new poetry has not yet taken root in the hearts of the Chinese people. Tomorrow belongs to them.

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