Archive for the ‘Calligraphy/中国书法’ Category

汉简Chinese traditional calligraphy-a style 2000 years ago

11 Jul 2008

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汉简Chinese traditional calligraphy-a style 2000 years ago

Han dynasty(link,Chinese info from Baidu.com) is an important era in history of china. Not only because of the the strong army and economic in the world,but also for the contributation in arts. the style Han in calligraphy is the important step in the development of Chinese tradtional calligraphy. see some great pics of 2000 years [...]

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Chinese Calligraphy master-Hanshi by 赵文耕

21 Apr 2008

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Chinese Calligraphy master-Hanshi by 赵文耕

Hanshi,Chinese Callirgraphy master,has a workoffice in Beijing Dashanzi Art Zone 798,named Tuao Studio. which has the same meaning as Yin and Yang. Actually, besides his great work on calligraphy,he knows Chinese tradtional culture very well. He always tells us to think more when you are low, it is not that worse, you will have something [...]

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introduction of Calligraphy-in Chinese

16 Apr 2008

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introduction of Calligraphy-in Chinese

Chinese Character,or 中国汉字(Hanyu Pinyin: zhong guo han zi) has a square shape.  Was first created during the labor process thousands of years ago.  there are four basic elements when writing calligraphy:brush(毛笔Hanyu Pinyin: Mao bi),ink(墨Hanyu Pinyin Mo),paper(纸Hanyu Pinyin:Zhi),inkstone(砚台,Hanyu Pinyin:Yan tai). I will post more information on Chinese traditional calligraphy later. 书法是中国特有的一种传统艺术。中国汉字是劳动人民创造的,开始以图画记事,经过几千年的发展,演变成了当今的文字,又因祖先发明了用毛笔书写,便产生了书法,古往今来,均以毛笔书写汉字为主,至于其他书写形式,如硬笔、指书等,其书写规律与毛笔书写规律相比,并非迥然不同,而是基本相通。基于索本求源(指甲骨文之后),这里重点介绍毛笔书写汉字的规律。只要我们对书法有了”狭义”的理解,那么对领会\”广义的书法\”也会大有裨益。 从狭义讲,书法是指用毛笔书写汉字的方法和规律。包括执笔、运笔、点画、结构、布局(分布、行次、章法)等内容。例如,执笔指实掌虚,五指齐力;运笔中锋铺毫;点画意到笔随,润峭相同;结构以字立形,相安呼应;分布错综复杂,疏密得宜,虚实相生,全章贯气;款识字古款今,字大款小,宁高勿低等。 从广义讲,书法是指语言符号的书写法则。换言之,书法是指按照文字特点及其涵义,以其书体笔法、结构和章法写字,使之成为富有美感的艺术作品,随着文化事业的发展,书法己不仅仅限于使用毛笔和书写汉字,其内涵己大大增加。例如,从使用工具上讲,仅笔这一项就五花八门,毛笔、硬笔、电脑仪器、喷枪烙具等种类繁多。颜料也不单是使用黑墨块,墨汁、粘合剂、化学剂、喷漆釉彩等五彩缤纷,无奇不有。过去的文房四宝–笔、墨、纸、砚,其涵义也大有扩展,品种之多,不胜枚举;从执笔方式上看,有的用手执笔,有的用脚执笔,就是用其他器官执笔的也不乏其人,甚至有的人写字根本就不用笔,如\”指书””挤漏书\”等;从书写文种上说,并非汉字一种,有的少数民族文字也登上了书法艺坛,蒙文就是一例;从书体和章法上看,除了正宗的传统书派以外,在我国又出现了曲直(线)相同、动静结合的”意向”派,即所谓现代书法。它是在传统书法基础上,加以创新,突出\”变\”字,融诗书画为一体,力求形式和内容统一,使作品成为”意美、音美、形美\”的三美佳作。在日本不少书家摒弃文字的语言性,树立文字的\”形象性\”,出现了”墨象”派,以用笔的轻重和徐疾、笔锋的开合及落笔位置的变化等,写出各种形象的文字。这一书派,虽突出”意象”,其字赏之也新颖,但汉字并非都是”形象”字,因此步履艰难,发展受到限制。所有这些(当然不仅是这些),可以看出书法和其他事物一样,也是在不断地发展和变化着。这一点必须引起书法界人士的高度重视。 The Chinese content [...]

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