China's 5,000 years of brilliant civilization and unparalleled rich written records have been recognized by the world, in this broad and profound historical river, China's calligraphy and painting art with its unique art form and artistic language to reproduce this diachronic transformation process. The art of calligraphy and painting with a sister nature interprets the connotation of traditional Chinese culture with its complementarity and independence in the transformation of history.
Because the tools and materials used in the creation of books and paintings are consistent. When talking about the origin of ancient characters and pictures in the "Records of Famous Paintings of Past Dynasties", it is said: "Yes and time, books and paintings are the same body and are not divided, and the image system is created and created, and there is no way to convey its meaning, so there is a book; there is no way to see its shape, so there is a painting." Although calligraphy and painting have homologous comparability, the subsequent development status is developed and changed by complementary independence.
The formation and development of Chinese character calligraphy art and the production and evolution of Chinese characters are inextricably linked. So what exactly is "calligraphy"? We can understand it in terms of its nature, aesthetic characteristics, source, and unique means of expression. Calligraphy is an abstract symbol art with four-dimensional characteristics based on Chinese characters, written with a brush, which embodies the basic law of the "unity of opposites" of all things and reflects the spirit, temperament, knowledge and cultivation of people as the subject.
When we write Chinese characters, there are two situations: one is that we just write Yu, write The Chinese characters clearly, write them standardly, let people know it, and writing at this level is a technique; the other is to write calligraphy, on the basis of writing the words clearly and standardized, we must write beautifully, so that people can appreciate, and the writing of Chinese characters at this level has become heart calligraphy, Chinese calligraphy art.
Chinese has always attached importance to writing, and many readers have written well. Good writing shows the cultivation of the writer and also shows respect for the viewer. Therefore, writing well is also a very important thing from a practical starting point, and calligraphy is an artistic accomplishment that people who study Chinese culture must have. As for skilled wrist kung fu, there is no other way but to be diligent in copying. A thousand worlds, rich and colorful.
Many things have a trajectory of beauty or leave traces of beauty in their movements. For example, meteors fly from the sky, swallows fly up from the surface of the water, rivers pop the earth, all trees flourish, and the changes of clouds in the sky, and the movement of everything on the ground will leave an admirable trace, all of which will enlighten calligraphy. Calligraphy is a more abstract and universal sense of the beauty of handwriting. Calligraphy is the handwriting left by the true feelings and sincerity that flow from our hearts, but it is actually the traces of our hearts. When we appreciate the calligraphy of the ancients, we are also appreciating the hearts of the ancients; we appreciate the calligraphy of an era, and we are also appreciating the hearts of the people of that era.
Looking at Chinese calligraphy, it is a good calligraphy work, but it feels heroic, giving people a kind of artistic feeling of being clean and free, and being rich and powerful. "Chinese calligraphy", the concept first refers to words inscribed on paper in ink, although the classical period in the history of Chinese calligraphy is not less than the works inscribed on stone on paper or silk.
For this reason, it is difficult for some people to think of oracle bones and bronzes as works of calligraphy. Chinese calligraphy, which refers to all hieroglyphic symbols created by hand. That is to say, regardless of the specific materials and tools of writing, there are no restrictions of the times. As a result, Chinese art scholars have actually incorporated all inscriptions into this concept, from the oracle bones of the Yin Dynasty (mid-200 BC) to the bronze ware of the Zhou Dynasty. From the point of view of European aesthetics, calligraphy is first and foremost related to inscriptions on paper, but has little to do with inscriptions on other materials.
Calligraphy, it seems very simple, as if anyone who can write Chinese characters can participate, can use a brush to write Chinese characters on rice paper, it seems to become a calligrapher. Not really. Calligraphy, as an artistic creation, is mysterious and difficult. Writing Chinese characters is easy, and there are not many calligraphers who really enter the realm of calligraphy art.
Calligraphy is on white paper, relying on the flexibility of brush movement and the richness of ink, leaving a speckled phase, forming a meaningful black and white composition on the paper surface, so calligraphy is the composition of art; the calligrapher's pen is an extension of his fingers, the pen's rapidity, slowness, flight, and frustration are driven by subjectivity, becoming the vent of his emotions and emotions, that is, the main purpose of the spirit flying and the flying dragon and the phoenix. Therefore, calligraphy is also an expressive art; calligraphy can quietly reflect the personal life feelings, knowledge, cultivation, personality, etc. of the calligrapher through the works, so there is usually a saying that "the word is like its person" and "the book is the heart painting"; calligraphy can also be used for inscriptions and writing plaques, so it is also a practical art. In short, calligraphy is a more comprehensive art, an art that is more inclined to express the subjective spirit.
Calligraphy and painting dominate other disciplines of Chinese art and are ranked first among Chinese art. When calligraphy and painting are mentioned together, calligraphy is placed in front of painting, which is called "calligraphy and painting", such as "calligraphy and painting homology", "qinqi calligraphy and painting", "calligraphy and painting edge", "Noh shuhui 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 with pens pays attention to calligraphy, and ink freehand is in line with the line of calligraphy. 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 shape is intrinsically linked to the seal in calligraphy.
Ancient Chinese architecture from the layout to the main body of the beam and column structure, follow the symmetry, balance, master-slave relationship and other rules, garden architecture in the implication, borrowing scenery, as well as pavilions, platforms, buildings, pavilions to pursue the ethereal, flying, etc. are closely related to the calligraphy of the knot, chapter and rhythm, qi rhyme. As for arts and crafts and folk art, they are also influenced by calligraphy to varying degrees. Calligraphy can be seen as the soul of Chinese art.
Plastic arts are all composed of visual image factors, the smallest unit of image factors is "point", the trajectory of "point" movement is "line", the organic combination of point and line constitutes calligraphy, the trajectory of "line" movement forms "surface", the organic combination of points, lines and surfaces constitutes painting, and the trajectory of "surface" movement forms a volume, so it constitutes sculpture, arts and crafts, and architecture.
Du Bing Jian (都兵剑), the lord of the Lying Cow Zhai, the head of the Jianlan living room, is a famous contemporary calligrapher, and his calligraphy works are called "Bing Sword Calligraphy". A fellow of the Republic of China, he was born at the top of Taihang In Lingchuan, Shanxi. After 20 years of military service, he founded the Beijing Hongdu Academy of Calligraphy and Painting to study, explore and inherit and carry forward traditional Chinese culture. He has published calligraphy collections such as "Hanmo Sword Love", "Bing Sword Calligraphy Collection", novella "Traces of Time", essay collection "Song on mobile phone" and other literary and artistic works.
Bing sword calligraphy, such as flowing clouds and flowing water, falling pen like cloud smoke; bing sword calligraphy, such as dragon and snake racing to walk, grinding through the iron brick; bing sword calligraphy, the gesture is majestic, the posture is full of life, out of indifference, its palms are forgotten; the sword calligraphy, such as the hero drawing the sword, the divine color is moving like the pen of Man Qing, the yan muscles and willow bone gods are all in good shape; the sword calligraphy, its color, its shape, its thickness and light, its broken tossing, the thickness and thinness of the dew, are infinitely variable and the weather is thousands; the sword calligraphy, the ancient ink is lightly polished with a few incense, the new bath of the Yanchi is bright, or the key or the gentle turn, or the beauty of the graceful Na Jiao, Or like a strong and brave warrior, or like a spring breeze blowing flowers, or like the north wind into the pass deep and cold; sword calligraphy, like petals, the aroma spreads far, more and more pure, intoxicating the world.
Mr. Feng Zhiliang, a distinguished professor of Peking University and a scholar of surname culture, once gave a poem by the famous calligrapher Woniu Zhai Master Du Bingjian Teacher Seven Words and Laws: "Linchi has not quit for fifty years, and the ink of the milli-cone is like a disc star; the ashram Yazhai reflects the bright moon, and the Taoist law does not depend on the breeze." There were already three thousand guests under the door, and there were 100,000 soldiers in their chests; they did not ask about the troubles of the world, but only listened to the songs of the world. This poem objectively proves the noble character of the Woniu Zhai Master Du Bing Jian Teacher as his person and the teacher of the teacher, and also embodies the superb skills and perseverance of the Wo Niu Zhai Master Du Bing Jian Teacher in calligraphy and literature, and also reflects the noble quality of the Wo Niu Zhai Master Du Bing Sword Teacher Tao Li who is full of the world and is not disturbed by the world.