2024年3月12日发(作者：努比亚红魔官网)

Calligraphy

Calligraphy is understood in China as the art of writing a good hand with the brush or the study of the

rules and techniques of this art. As such it is peculiar to China and the few countries influenced by

ancient Chinese culture.

In the history of Chinese art, calligraphy has always been held in equal

importance to painting. Great attention is also paid today to its

development by holding exhibitions of ancient and contemporary works

and by organizing competitions among youngsters and people from

various walks of life. Sharing of experience in this field often makes a

feature in Sino-Japanese cultural exchange.

Chinese calligraphy, like the script itself, began with the hieroglyphs and, over the long ages of

evolution, has developed various styles and schools, constituting an important part of the heritage of

national culture.

Classification

Chinese scripts are generally divided into five categories:

The seal character (zhuan), the official or clerical script (li), the regular

script (kai), the running hand (xing) and the cursive hand (cao).

1) The zhuan script or seal character was the earliest form of writing after

the oracle inscriptions, which must have caused great inconvenience

because they lacked uniformity and many characters were written in

variant forms. The first effort for the unification of writing, it is said, took

place during the reign of King Xuan (827-782 B. C.) of the Western Zhou

Dynasty, when his taishi (grand historian) Shi Zhou compiled a lexicon of

15 chapters, standardizing Chinese writing under script called zhuan. It is

also known as zhouwen after the name of the author. This script, often

used in seals, is translated into English as the seal character, or as the

"curly script" after the shape of its strokes.

Shi Zhou's lexicon (which some thought was written by a later author of the state of Qin) had long been

lost, yet it is generally agreed that the inscriptions on the drum-shaped Qin stone blocks were basically

of the same style as the old zhuan script.

When, in 221 B. C., Emperor Qin Shi Huang unified the whole of China under one central government,

he ordered his Prime Minister Li Si to collect and sort out all the different systems of writing hitherto

prevalent in different parts of the country in a great effort to unify the written language under one

system. What Li did, in effect, was to simplify the ancient zhuan (small seal) script.

Today we have a most valuable relic of this ancient writing in the creator Li Si's own hand engraved on

a stele standing in the Temple to the God of Taishan Mountain in Shandong Province. The

2,200-year-old stele, worn by age and weather, has only nine and a half characters left on it.

2) The lishu (official script) came in the wake of the xiaozhuan in the same short-lived Qin Dynasty (221

- 207 B. C.). This was because the xiaozhuan, though a simplified form of script, was still too

complicated for the scribes in the various government offices who had to copy an increasing amount of

documents. Cheng Miao, a prison warden, made a further simplification of the xiaozhuan, changing the

curly strokes into straight and angular ones and thus making writing much easier. A further step away

from the pictographs, it was named lishu because li in classical Chinese meant "clerk" or "scribe".

Another version says that Cheng Miao, because of certain offence, became a prisoner and slave

himself; as the ancients also called bound slaves "li", so the script was named lishu or the "script of a

slave".

3) The lishu was already very close to, and led to the adoption of, kaishu, regular script. The oldest

existing example of this dates from the Wei (220-265), and the script developed under the Jin

(265-420). The standard writing today is square in form, non-cursive and architectural in style. The

characters are composed of a number of strokes out of a total of eight kinds-the dot, the horizontal, the

vertical, the hook, the rising, the left-falling (short and long) and the right-falling strokes. Any aspirant

for the status of calligrapher must start by learning to write a good hand in kaishu.

4) On the basis of lishu also evolved caoshu (grass writing or cursive hand), which is rapid and used for

making quick but rough copies. This style is subdivided into two schools: zhangcao and jincao.

The first of these emerged at the time the Qin was replaced by the Han Dynasty between the 3rd and

2nd centuries B. C. The characters, though written rapidly, still stand separate one from another and

the dots are not linked up with other strokes.

Jincao or the modern cursive hand is said to have been developed by Zhang Zhi (?-c. 192 A. D.) of the

Eastern Han Dynasty, flourished in the Jin and Tang dynasties and is still widely popular today.

It is the essence of the caoshu, especially jincao, that the characters are executed swiftly with the

strokes running together. The characters are often joined up, with the last stroke of the first merging

into the initial stroke of the next. They also vary in size in the same piece of writing, all seemingly

dictated by the whims of the writer.

A great master at caoshu was Zhang Xu (early 8th century) of the Tang Dynasty, noted for the

complete abandon with which he applied the brush. It is said that he would not set about writing until he

had got drunk. This he did, allowing the brush to "gallop" across the paper, curling, twisting or

meandering in one unbroken stroke, thus creating an original style. Today one may still see fragments

of a stele carved with characters in his handwriting, kept in the Provincial Museum of Shaanxi.

The best example and model for xingshu, all Chinese calligraphers will agree, is the Inscription on

Lanting Pavilion in the hand of Wang Xizhi (321-379) of the Eastern Jin Dynasty. To learn to write a

nice hand in Chinese calligraphy, assiduous and persevering practice is necessary. This has been

borne out by the many great masters China has produced. Wang Xizhi, the great artist just mentioned,

who has exerted a profound influence on, and has been held in high esteem by, calligraphers and

scholars throughout history, is said to have blackened in his childhood all the water of a pond in front of

his house by washing the writing implements in it after his daily exercises. Another master, Monk

Zhiyong of the Sui Dynasty (581-618) was so industrious in learning calligraphy that he filled many jars

with worn-out writing brushes, which he buried in a "tomb of brushes".

Renewed interest in brush-writing has been kindled today among the pupils in China, some of whom

already show promises as worthy successors to the ancient masters.

Four Treasures of the Study

To produce Chinese characters one will need a brush, paper, ink

stick and ink stone, commonly referred to as the "Four Treasures of

the Study". To learn calligraphy, it is necessary to learn about these

tools.

While brushes are varied, white-goat-hair, black-rabbit-hair and yellow-weasel-hair brushes are the

main ones. On the basis of function, brushes are classified into three groups: hard, soft and both.

Brush handles are usually made of bamboo, wood, lacquer or porcelain; ivory or jade handles are rare

and precious.

The ink stick is a unique pigment used for Chinese traditional painting and calligraphy. The most

famous ink stick ishui mo(Anhui ink stick), made of pines that grow on Huangshan Mountain in Anhui

Province. Clean water is needed to grind the ink stick, which must be balanced in the hand during the

grinding or rubbing process. Press hard and rub lightly, slowly and evenly against the ink slab until a

thick, liquid-ink forms.

Paper was invented by Cai Lun in the Eastern Han Dynasty (25-220). While paper comes in many

varieties, Xuan paper, produced in the Jing Prefecture of Xuanzhou (today's Anhui Province), is

considered the best for Chinese calligraphy. The paper is soft and fine textured, suitable for conveying

the artistic expression of both Chinese calligraphy and painting. With a good tensile strength and

mothproof quality, the paper can be preserved for a long time.

Ink stones or ink slabs have been classified into three categories:Duan,SheandTao. Features common

to all three ink slabs are the stone's hardness and fineness. Although the stone is hard and fine, it is not

dry or slippery. Using a hard, smooth stone, liquid ink can be produced easily by rubbing the ink stick

against the stone.

By controlling the flexibility of the brush, the concentration of the ink and the absorbency of the paper,

the artist can produce an infinite variety of calligraphic styles and forms.

Calligraphy: Leader of All Art Forms

Few nations in the world have calligraphy as a form of art. In China, calligraphy has maintained a close

rapport with the country's cultural development.

Calligraphy is an expressive art. According to an old Chinese saying, "the way characters are written is

a portrait of the person who writes them." Expressing the abstract beauty of lines and rhythms,

calligraphy is a reflection of a person's emotions, moral integrity, character, educational level,

accomplishments in self-cultivation, intellectual tastes and approach to life. Chinese characters, which

convey ideas, are regarded as the most abstract and sublime art form.

Calligraphy is also a practical fine art. Exotic calligraphic inscriptions written on paper, wooden plaques

or stone tablets serve as decorations of a deep artistic value.

Calligraphy manifests the basic characteristics of all Chinese arts. Closely associated with paintings --

the two leaders of Chinese art forms -- calligraphy takes precedence over painting since it greatly

inspired the art of painting. Moreover, calligraphy has influenced other typically Chinese art forms like

classical poetry, seal-cutting, sculpture, traditional music and dance, architecture and handicrafts.

Calligraphy is a mental exercise that coordinates the mind and body. It is a most relaxing yet highly

disciplined exercise for physical and spiritual well-being. Historically, many calligraphic artists lived to a

ripe, old age.

An Art of the Orient

Chinese calligraphy is an Oriental art. Like chopsticks, calligraphy was once entirely Chinese, but as

Chinese culture spread to Korea, Japan, and Singapore, calligraphy became a unique feature of the

Oriental art.

Calligraphy is even wildly accepted by the West; as once Picasso said, "Had I been born Chinese, I

would have been a calligrapher, not a painter." Many calligraphic elements are being adopted by

modern western art.