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国画批发市场中商周的甲金文真的是书法的源头吗?

发布人:http://www.hzzhpf.com    发布时间:2019-12-10 14:23:05    

  商周时期,人们对文字的认识经历了一个从合同刻字到刻字再到书写的过程,但这一过程主要以龟甲文、青铜文、陶文等非纯文字材料为基础。因此,陶器上的红色或水墨书法开始进入书法和中国古代文字及历史研究者的视野。
  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.
  因为有了毛笔,就有了所谓的“书法”,“用笔的材料、工艺、造型和使用,都蕴涵和反映了中国文化的深刻内涵。”毛笔是软的,可以有一定的墨量储存,在蘸墨的过程中颜色会发生变化,以及沿笔尖的反边缘所造成的光滑和否则就是中国书法的奥秘。然而,与书法风格改变后的时期相比,书法风格与字体之间仍然存在着相互影响,甚至对字体的变化非常敏感。
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  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.
  商周时期的嘉锦字是中国书法的源头。如今,所有与中国书法历史有关的作品都不可避免地要追溯到商代的甲骨文和西周的青铜器铭文。然而,在这个时期,嘉瑾文字与后来的“书法”或文字有什么关系,这种书写痕迹能否构成文本的形象文化场景,这些问题并没有被考古学、古文字学或书法史所考虑和解决。至少可以说,当时的中国还没有独立的书法家。商代的甲骨文雕刻手书法很好,但没有流传下来。回头看看西周的书法,也是中鼎一器上的题字,商、周时期的书法家是没有写字自由的(如果当时有这样的书法家的话)。在先秦“前艺术家”的书法史中,很难对之前提到的考古学、古文字学甚至书法进行全面的解释。相反,如果用图形的相关知识来解释它,则可能会揭示其内在的秘密。毕竟,此时的信纸并不如在红字等材料上的“一次性”书写完成,而是具有很大的制作意义。
  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.
  从文均在《商周青铜器铭文书法分析》中引入了一个更为重要的概念——“篆寅”。之后,在中国书法的历史,先秦和秦卷,这本书是系统化:“我们使用的两个字符“专”和“专”作为一种特殊的名词来衡量的风格特征、风格的美感,相互之间的关系,各种书法的发展变化在古代汉字的象形符号系统。它表现了同宽、同长、同距、同字形的特点,表现了大小篆书线条的曲折变化,表现了书写的方法。CongWenJun提出“原因”的概念是相当重要的,它使讨论从先秦书法研究古青铜对象,后面的写作活动,进一步“小是中式TuoLve规范样式古老的形式经过一阶段的发展,也是一个“铅,形成初步形成,即在金文书法的地平线”。但不幸的是,在青铜铭文中,这一特点比较薄弱,只能依靠书法家的经验。但《博卯赋贵墨》一书所展示的证据是显而易见的,可以很容易地观察到。
  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.
  博茂的富贵水墨书法的出现,使我们更有可能在书法范畴内考察金文。毕竟,“古铭文之美属于书法艺术范畴,它不仅有其独特的审美要求,而且表现得相当突出”。基于此,我们有一个大胆的假设,墓群的主人是一个爱学习家庭的人物。当然,我国在商周时期对书法的探索和发展还很不成熟,这只是一个开始,大部分都属于检验的范畴。我们也尽我们更大的努力来解决书法的起源。字的起源与书法的起源不是一回事,还需要有非书法元素的夹劲。
  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.
  以上是国画批发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