The Chinese characters that began with the official script or even the regular script have been difficult to directly link with the pictograms. Perhaps the learned calligrapher will be excited about the concrete elements contained in the Chinese characters, but they must realize that these things resembling those of the appendix are only traces of the failure of early text experiments. For those calligraphers who take it for granted, they'd better know that writing "dance" as a dancing beauty is not connected with the original graphics of "holding oxtail and dancing". If you prefer to write words into paintings, why don't they just draw human sketches directly?
As mentioned above, during the construction of the Chinese character, two embezzlements occurred. The first time the image was diverted into text, and the second time, the pictogram was diverted into notes, symbols, or symbols. Now we know that there is basically no pictographic status in the Chinese character-building method during the mature period. Empirical research shows that “after Chinese characters form a complete writing system, most of the newly added characters are differentiated from existing ones by adding radicals or radicals.”[23] Because Chinese characters are to be matched with the language, Chinese characters will eventually give up. An attempt to illustrate the world. However, Chinese characters are certainly not the voice of slaves. As a system that is as perfect as Pinyin, Chinese characters not only have unique construction rules, but also have unique modeling potential.
Chinese characters are cumbersome to write, but their radicals, parts and strokes are limited, and stroke order is also certain. The orderliness achieved by the Chinese character symbol system is breathtaking, but it is difficult to express clearly. Wang Xizhi's “Lan Ting Xuan” established a model for running a book. The copybook does not include enough Chinese characters, but its copy can be extended to write all the Chinese characters as Wang's running book. The orderliness of the calligraphy system is undoubtedly based on the highly ordered nature of the Chinese character system. The calligrapher's copybook and Mr. Lian's letter, brush calligraphy and hard brush calligraphy, traditional characters and simplified characters. They are able to maintain a certain continuity, not because they are free-style writing, but because they are self-contained systems. Writing of text symbols. There is no doubt that the word formation of English has some sort of understandable order, but this is not directly related to the 26-letter wording. In the process of copying and printing, the letters can also be written in a beautiful style, but each time they occur an overall change, it can only cause 26 kinds of visual differences.
The history of Chinese characters is only 3300 years old.[24] However, the history of 3300 years is the history of continuous writing in the same language. From the ancient writing to scribes, gongs, lines, and grasses, whether in terms of fonts, shapes, or styles of words, every new difference is built on subtle similarities with the past. The history of calligraphy is far more tolerant than the history of linguistics. It not only accommodates the right things but also contains the wrong things. In writing for the purpose of art rather than practicality, words have the right to become language fluently. In the process of matching Chinese characters with the language, a highly ordered system of radicals and strokes has been developed. Even if this system is separated from Chinese, it also has the charm of Chinese characters. Japanese calligraphy, Xu Bing's book is all this type of thing. They did not become calligraphers because they matched the Chinese language, but because they were systematically similar to the Chinese characters in history. To magnify individual characters and knave the written characters into words, these actions seem to deviate from the tradition. In fact, they happen to be built on the basis of tradition.
Of course, writing in tradition and using tradition to create is totally different. People with discerning eyes can see that the things passed down by the old ancestors, like the species of wild animals, are away from us every day and hour and hour.
5. The general calligraphic theory often summarizes the achievements of calligraphy from the perspective of aesthetic characteristics. This article does not deny the significance of such exploration. However, when we focus too much on the "beauty" of calligraphy or the "aesthetic experience" inspired by calligraphy, we often neglect the simple connection between calligraphy and writing.
We think that calligraphy is artistic, but writing is practical, but at the end of the day, calligraphers are just one of endless types of writers. The calligrapher was independent, just because he had written a certain type of character to the extreme so that it had exemplary significance. People often understand the paradigm in the sense of “eternal” or “overtime,” but they do not know that a more simple meaning of paradigm is the “model”. Confucius is an example of personality, and Yan is an example of calligraphy. "Peaches and plums, the next from Seikei". There is no "mass" to follow suit. How can a tall building be the only one?
Calligraphers never come from scratch. Long before the calligrapher's calligraphy [25] was created, Chinese characters had formed their own form based on collective writing. Whether it is an anonymous or calligrapher, in order to write Chinese and Chinese characters, they must first comply with the rules of Chinese characters. Chinese characters are a highly ordered symbol system. In principle, if you want to grasp the structure of a word, you have to grasp the structure of all characters. The calligrapher who can only draw his own name for a lifetime has not only not heard but is also extremely ridiculous.
Semiotic aesthetics care about the orderliness of Chinese characters and calligraphy. Admitting that the beauty of calligraphy depends on the orderliness of the Chinese character symbol system does not diminish our assessment of the originality of the calligraphy artist. Under the influence of Western traditional aesthetics, we see the creator's fanaticism too mysterious. Many people feel that there is an "aesthetic experience" at work that is totally different from everyday experience, both in the author and in the reader. However, the use of "aesthetic experience" as a matter of principle can not only increase the artistry, but it will also corrupt the concrete and faint sense of art. In contrast, the ancients who use the words “Dragon Jumping Heaven”, “High Peak Rocks” and “Xiayun Scrolls” to describe calligraphy are actually closer to the things themselves.
We often understand aesthetic experiences as subjective feelings. However, good sense has always been reflected in the fiery process of dealing with things. The great calligrapher is not only good at dealing with pen and ink, but also good at dealing with Chinese characters. Now we already know that Chinese characters as the basic material for calligraphy are neither pictographic nor abstract, but a set of highly abstract and systematic symbols. Chinese characters are a symbol for writers. For calligraphers, they are a kind of material. Calligraphers do not care how to theoretically grasp the symbolic nature of the text. What they care about is how these symbolic characters can be vividly expressed from the sensibility. Just as a rose is not depleted by its alleged (love), in the form of cultural life with writing as its beauty, the signifier of the text is not exhausted by its signification—people are reading the meaning of the word simultaneously. It also stays on the surface of the word and wonders how to write better.
However, in today's era, Chinese characters are increasingly becoming a sign of language service. Although digital Chinese characters still retain a wide range of fonts and even a wide range of calligraphic styles, the masses today do not intend to visit them, but rather they want to consume them as if they were picking workers. Whether it is the five-stroke type or the Pinyin input method, it is relying on a certain search system to sort out the pre-prepared Chinese characters one by one. Using pens to write Chinese characters, they are not readily available. The person who writes not only can't miss a stroke, but also has the possibility of success or death in every stroke. Calligraphers are writers who strive for excellence. Unlike word-picking workers, he never regards Chinese characters as ready-to-use materials that can be consumed, but as something that is uncertain and needs to be repeatedly formed. The text is the material used by the calligrapher, but a good calligraphy work not only “does not make the material disappear, but it only makes the material appear”[26]. The task of the goldsmith is to make the metal shine, the painter's task is to make the paint glow, the poet's task is to make the sound loud and acquainted, what is the mission of the calligrapher?
When the computer keyboard destroyed the broad folk soil on which calligraphy grew, Chinese and Chinese characters did not disappear. However, the activities of writing Chinese language have ended in a certain sense. On the one hand, Chinese characters have become more and more like pure symbols. On the other hand, calligraphy has become more and more like an image that is free of words. This is two aspects of one thing. (Wen / Chen Aoyu)
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