On the Artistic Beauty of Chinese Characters

Mr. Lu Xun once said that there are three beauties in writing, namely, the beauty of meaning is the beauty of heart, the beauty of sound is the beauty of ears, and the beauty of form is the beauty of eyes. China's calligraphy is an art about the expression of Chinese characters. First of all, it is a square character. Its stippling makes the rotating and shelving structure form a unique calligraphy style, so the first thing is the form. Then, China's calligraphy emphasized from the beginning that "a book can only be called a book if there are icons in both vertical and horizontal directions". The icons mentioned here include both natural images and calligraphy images created by people. From seal script to official script, to cursive script and regular script in the late Han and Wei Dynasties, the image of calligraphy gradually became independent and full. Traditional calligraphy theory always compared the image of calligraphy with that of nature. So, what is behind this image of nature? It is the god of nature and the response of the writer's spirit, which forms the unique aesthetic tendency and picturesque writing characteristics of China's calligraphy. This unique aesthetic tendency of emphasizing the god of nature and the writer's spirit is to form a national spiritual atmosphere; To put it mildly is the writer's spiritual atmosphere. Therefore, the second most important thing in China's calligraphy is image. Because of the vertical and horizontal images of the characters themselves, the spiritual image of the writer and the spiritual atmosphere of the nation are brought out. Then, the performance of writing this kind of soft pen reveals the temperament and feelings of the writer, which can achieve the function of communicating between man and nature and activate the intention of life. When you reach a high level, you forget your heart, your hand, your pen and your book, and the harmony between man and nature. This realm is the real return of calligraphy. Therefore, people in China regard calligraphy as a way to cultivate one's self-cultivation, so calligraphy is such a settled thing, such a high thing, which we call the realm. Therefore, calligraphy is first related to form, then to image, and the highest realm is related to environment, so as to reach a high realm, forget the environment and live environment.

Chinese characters are typical ideographs developed on the basis of ideographs.

The origin of China's characters and the appearance of early works with artistic characteristics have their particularity and times. As far as calligraphy is concerned, although there were pictographic characters-Oracle Bone Inscriptions in the early characters, the complexity and simplicity of the same character were different, and the strokes were also different. However, there is a law of symmetrical balance, and there are also some regular factors such as pen (knife), word knot and composition. Moreover, in the organization of lines, the beginning and end of strokes change, showing the meaning of calligraphy and strokes. Therefore, it can be said that the emergence and existence of the previous generation of calligraphy art not only belongs to the category of calligraphy history, but also is an important example for future generations to learn from and think about in the development and evolution of art forms.

Official script is flat, neat and exquisite. In the Eastern Han Dynasty, stippling such as skimming was beautified as upward provocation, with different degrees of severity and artistic beauty of calligraphy. Styles also tend to be diversified, which is of great artistic appreciation value.

Han Li has the beauty of waves and strokes. The so-called "wave" is that the left line of the stroke is like a meander, and it becomes left in the later regular script; The so-called "stroke" only opens the right pen, which looks like a "dovetail" pen. In the use of pens, there are all kinds of methods, such as square, round, hiding and revealing, and the strokes are flying and elegant. Structurally, there is a vertical square of Xiao Zhuan, which first becomes a square and then becomes a horizontal square. Han Li has a powerful, extensive, neat and flexible bearing.

The aesthetic expression and lyricism of regular script are not as good as cursive script.

The cursive script began in the early Han dynasty, and its characteristics are: keeping the outline of characters, damaging the official rules, rushing away and rushing away quickly. Because of the meaning of grass, it is called cursive script.

The following is taken from the article of Calligraphy Sands:

On China's Calligraphy as "Figurative Art"

China's calligraphy is a "figurative art", which is not an art form based on the direct and simple description and reproduction of a specific object in nature by China's calligraphy, but based on the relative reproducibility and expressiveness, concreteness and abstraction, correspondence and diversity, uniqueness and openness of "recreating Chinese characters", and based on the special relationship between recreating Chinese characters and Chinese characters, a tense and intimate artistic creation relationship. An innate identifiability, its entity, noumenon or its core part-the recreated Chinese characters are "figurative", so China's calligraphy can't be "figurative art". It is not a purely abstract form, not a set of lines of words, but the beauty of form and freedom independent of any concept, the art of purifying lines independent of symbolic meaning (word meaning), and the beauty of absolute independence.

Universality and uniqueness of China's calligraphy. Calligraphy Jinsha has repeatedly proposed that China's calligraphy art should be studied not only as a part of China's culture and art, but also as a part of the world's culture and art. China's calligraphy may be worldwide, so the calligraphy art is bound to transcend the nation, cross national boundaries and win worldwide artistic recognition. But this recognition is not only because China's calligraphy is a heart painting, but also a metaphysical expression and a direct combination of formal beauty and emotional factors. Because we have grasped this combination, it may be enough to understand the basic artistic universal attributes that China calligraphy, as a specific art category, should possess. Calligraphy Jinsha believes that what is more important is the uniqueness, particularity and nationality of China's calligraphy. For example, the culture of the two river basins, Russian literature, Greek sculptures, China's classical poems, China's paintings and so on. , not only lies in their basic attributes of culture, literature or art, but also lies in their uniqueness, particularity and nationality. Therefore, it is necessary and inevitable for these national literature and art to transcend national boundaries and win worldwide artistic recognition. They should be for the people in this global village. If we study the cosmopolitanism of China's calligraphy, we should also study its necessity and inevitability, especially emphasize and study her uniqueness, particularity and nationality. We should fully study that China's calligraphy is an art, but also that China's calligraphy is a treasure of national culture and art, China's calligraphy is a defined traditional national art, China's calligraphy is a re-creation of Chinese characters, China's calligraphy is the "root" art of national culture, and China's calligraphy is a "figurative art".

Excerpted from Baidu netizens, thank you.