During the Shang and Zhou dynasties, people's understanding of characters went through a process from contract lettering to lettering and then to writing, but this process was mainly based on non pure characters such as tortoise shell, bronze and pottery. Therefore, red or ink calligraphy on pottery began to enter the field of vision of calligraphy and ancient Chinese characters and history researchers.
Because with the brush, there is the so-called "calligraphy". The materials, techniques, shapes and uses of the brush all contain and reflect the profound connotation of Chinese culture The brush is soft and can be stored in a certain amount of ink. In the process of dip, the color will change, and the smoothness along the reverse edge of the tip is the secret of Chinese calligraphy. However, compared with the period after the change of calligraphy style, there is still interaction between calligraphy style and font, even very sensitive to the change of font.
Jiajin characters in Shang and Zhou dynasties are the source of Chinese calligraphy. Nowadays, all works related to the history of Chinese calligraphy inevitably go back to the oracle bone inscriptions of the Shang Dynasty and the bronze inscriptions of the Western Zhou Dynasty. However, in this period, what is the relationship between Jiajin characters and later "calligraphy" or characters, and whether this writing trace can constitute the image cultural scene of the text, these problems have not been considered and solved by archaeology, ancient Chinese philology or calligraphy history. At least, there was no independent calligrapher in China at that time. The Oracle carving hand calligraphy of the Shang Dynasty is very good, but it has not been handed down. Looking back at the calligraphy of the Western Zhou Dynasty, it is also the inscription on Zhongding. Calligraphers in the Shang and Zhou dynasties were not free to write (if there were such calligraphers at that time). In the calligraphy history of Pre-Qin "pre artists", it is difficult to explain the archaeology, ancient philology and even calligraphy mentioned before. On the contrary, if we use the relevant knowledge of graphics to explain it, we may reveal its internal secrets. After all, the letter paper at this time is not as complete as the "one-time" writing on materials such as red characters, but has great manufacturing significance.
A more important concept, Zhuanyin, was introduced into the analysis of the calligraphy of Shang and Zhou bronze inscriptions. Later, in the history of Chinese calligraphy, the pre Qin and Qin volumes, this book is systematic: "we use two characters" special "and" special "as a special noun to measure the style characteristics, style aesthetic feeling, the relationship between each other, the development and change of various calligraphy in the pictographic symbol system of ancient Chinese characters. It shows the characteristics of the same width, length, distance and shape, the zigzag changes of the lines of the large and small seal script, and the writing method. Congwenjun put forward the concept of "cause", which makes the discussion on the study of ancient bronze objects from the calligraphy of pre Qin Dynasty, and the following writing activities, further "small is the development of the ancient form of Chinese tuolve standard style through the first stage, which is also a" lead, formed initially, that is, on the horizon of golden calligraphy ". Unfortunately, in bronze inscriptions, this feature is relatively weak and can only rely on the experience of calligraphers. However, the evidence presented in the book Bo Mao Fu Gui Mo is obvious and can be easily observed.
The appearance of Bo Mao's rich and valuable ink calligraphy makes it more possible for us to study the Jin script in the field of calligraphy. After all, "the beauty of ancient inscriptions belongs to the category of calligraphy art, which not only has its unique aesthetic requirements, but also shows quite outstanding". Based on this, we have a bold assumption that the owner of the tomb group is a person who loves learning family. Of course, the exploration and development of calligraphy in the Shang and Zhou dynasties in China is still immature, which is just the beginning, most of which belong to the category of inspection. We also try our best to solve the origin of calligraphy. The origin of Chinese characters is not the same as the origin of calligraphy, but also needs the strength of non calligraphy elements.
市场小编为大家介绍的相关内容，想要了解更多内容，欢迎访问网站：http://www.hzzhpf.comThe above is the introduction of the small edition of the wholesale market of traditional Chinese painting. If you want to know more, please visit the website: http://www.hzzhpf.com