Briefly describe the history of calligraphy development, and talk about men and the beauty of calligraphy with examples.

Calligraphy is the art of writing Chinese characters. It is not only the cultural treasure of the Chinese nation, but also unique in the treasure house of world culture and art. In the long historical evolution and development, on the one hand, Chinese characters play an important social role in the exchange of ideas and cultural heritage, on the other hand, they also form a unique plastic arts. According to modern textual research, regarding the origin of China characters, it is generally believed that the characters were created in the "Yangshao Culture Period" in the middle reaches of the Yellow River in China about 5,000-6,000 years ago. Yangshao culture was first discovered in Yangshao Village, Mianchi, Henan Province in 192 1. In the past 40 years, there have been many discoveries.

There are three kinds of characters of all nationalities in the world, namely ideographic characters; Ideographic characters; Recording. Chinese characters are typical ideographs developed on the basis of ideographs. The method of pictographic writing is to draw the real thing. While painting tends to be more simplified and abstract, becoming a symbol that highlights the physical characteristics, representing a certain meaning and having a certain pronunciation ... Our Chinese characters have gradually taken shape, from pictures and symbols to creation and stereotypes, from ancient China seal script to small seal script, from seal script to official script, regular script and cursive script. In the process of writing and application of Chinese characters, the unique and independent calligraphy art of all nationalities in the world has gradually emerged.

Chinese characters are beautiful in phonology and form.

Chinese characters are one of the most beautiful characters in the world. Today, we might as well discuss the beauty of Chinese characters from the perspective of geometry.

② Geometry research space. Space has dimensions. The more dimensions, the greater the degree of freedom. Dimensions are more abstract. Let me give you an example:

The submerged snake in the cave can only move back and forth because of the limitation of the cave wall, and its space is only one-dimensional. It turns out that the galloping horse can turn left and right except for advancing and returning, and its space is two-dimensional. Birds in the air can not only turn left and right, but also take off upwards and glide downwards. As the saying goes, birds are freer than anyone else, because three-dimensional space has the greatest freedom.

③ The degree of freedom comes from multidimensional space. There are six kinds of Chinese characters: pictographic, pointing, knowing, pictophonetic, quasi-subject and borrowing. Ideographic characters are transformed from graphics and are naturally two-dimensional. Most of the other five books also have pictographic characters, such as pictophonetic characters, semi-pictographic characters and semi-pictophonetic characters, which are not enough for two-dimensional accommodation. In addition, Chinese characters are composed of horizontal, vertical, dotted, left-handed and pressed strokes. Like a jigsaw puzzle on the desktop, you need two-dimensional freedom to spell out ever-changing beautiful patterns. It can be seen that Chinese characters are essentially two-dimensional, which lays a solid foundation for the beauty of Chinese characters.

Chinese calligraphy breaks through the two-dimensional limitation of Chinese characters, is unique, and deduces the multi-dimensional beauty of Chinese characters.

⑤ China's calligraphy pays attention to structure. Frame is similar to the composition of painting, and there must be at least a large number of degrees of freedom provided by two-dimensional space, so as to talk about glyphs as a frame, to reflect the characteristics of cursive script, and to show the different styles of each family incisively and vividly.

⑥ China's calligraphy pays attention to hanging wrists. Only when the calligrapher's wrist is suspended can he move his arm at will to command ink and give full play to his freedom in three-dimensional space.

⑦ China's calligraphy pays attention to brushwork. This is largely due to its unique tools, and the brush is the most magical of all pens. Pens also have degrees of freedom: ballpoint pens have only one degree of freedom. The nib of quill pen and pen can be slightly wider, and its degree of freedom is between one and two. A brush consists of thousands of hairs, each of which can be bent to different degrees, with more than a thousand degrees of freedom. It is precisely because the brush has so many degrees of freedom that calligraphers can write thousands of words freely. Who said that it is inappropriate to respect the writing brush as the king of ten thousand pens? Proper use of multiple degrees of freedom of brush can increase the dimension of calligraphy. The abundance and shortage of ink storage, the weight of pen handling, the correctness of pen tip and the mystery of operation are all in one thought. Yan, Liu and other calligraphy styles can produce visual stereoscopic effect, which is stereoscopic. Do you believe it? Exhausted praise day: penetrating the back of the paper. If there is no third dimension perpendicular to the two-dimensional paper, where will it penetrate?

Today, horizontal writing based on pinyin letters does have its advantages: words are easy to pronounce, letters are easy to enter into a computer, and mathematical formulas are compatible. But as far as aesthetic feeling is concerned, Chinese characters are unique, and calligraphy has become a well-known and refined art. On the other hand, in the west, who has seen a plaque and couplet written in pinyin letters?