Appreciation of contemporary calligraphy works in Han bamboo slips
The appreciation of contemporary Han bamboo slips calligraphy works included works by famous calligraphers such as Mao Feng, Hu Jieyi, Shen Guangsong, and Sun Dunxiu. These calligraphers were famous for their works in the Han Dynasty. Their works were elegant, noble, and beautiful, giving people the enjoyment of beauty. In the calligraphy creation of Han Bamboo Slips, they showed the ingenuity of the layout of the rules and regulations, the characteristics of disorder, the font seal, official script, real script, grass are all available, the style is diverse, each has its own beauty. Their writing style was smooth, the strokes were natural and concise, the chapters and grass were concise, the connection was natural, rough and simple, and the flow rate was not restrained. The appreciation of these contemporary calligraphy works made people feel the unique charm of Han Dynasty calligraphy, showing the artistic style and creativity of Han Dynasty calligraphy. These works were of great significance to the study and creation of contemporary calligraphy.
Joy of Life
Calligraphy Works at the National Exhibition of Han Bamboo Slips
From the reference materials, some calligraphy works participated in the national exhibition in the style of Han bamboo slips. For example, in the 12th National Calligraphy and Seal Cutting Exhibition, there were works of Han Bamboo Slips. Some calligraphers took Han Bamboo Slips and other folk calligraphy as their target and participated in the National Calligraphy Exhibition and won awards. For example, Yu Jizhong's award-winning works in the first National Short Calligraphy Exhibition had obvious Han Bamboo Slips style. These calligraphy works of the National Exhibition of Han Bamboo Slips had a unique style and significance. From the perspective of style, Yu Jizhong's works were bold and vigorous. He pressed more than lifted. The strokes were thick and full, and there was a leap in the calmness. Although there were few changes in the tone and the strokes were easy to repeat, there was a heroic spirit. There was a lack of change in the tone of the ink, and the method was simple. The book was full and let it blur. The overall idea sometimes had a situation of stagnation. In terms of significance, the works in the style of Han Bamboo Slips reflected the creative concept of "diverse and inclusive" of the China Calligraphy Association, and had positive significance in promoting regional culture (Han Bamboo Slips were an important representative of Gansu regional culture) and avoiding collision with mainstream calligraphy. At the same time, the appearance of a large number of bamboo slips from the Qin and Han Dynasties also filled in the gaps in the history of calligraphy from the Qin Dynasty to the Eastern Han Dynasty, forming a bamboo slip calligraphy system that covered a variety of calligraphy, providing valuable information in many aspects for the study of history. The original novel of "The Shadow of Beacon Burning Plum Fragrance" was "The Hitman's Diary of the Pseudo Song Dynasty." The original plot was equally exciting. You can click on the link below to read the original novel.
Chu Bamboo Slips, Famous Calligraphy Works
The following were some calligraphy works related to Chu Jian: Shi Ke's " Chu Bamboo Calligraphy Thousand Character Essay ", He Huimin's " Chu Bamboo Collection 200 Ancient and Modern Couplets "," Chu Bamboo Collection 200 Ancient Poetry Sentences "," He Huimin's Chu Bamboo Couplet Calligraphy Collection "," Chinese Classics Famous Sentences Writing "," Chu Bamboo Calligraphy Text Collection "," Chinese Calligraphy Collection·Qin Bamboo Slip Volume "," Chinese Calligraphy Collection·Chu Bamboo Slip Volume "," Chinese Calligraphy Collection·Han Bamboo Slip Volume "," Chu Bamboo Calligraphy Collection Zi Cong Tie "," Ask the Classics ". He Huimin's Collection of Chu Bamboo Slips and Calligraphy, and the Collection of National Chu Bamboo Slips and Silk Calligraphy Exhibition, which included the works of Mao Guodian, Gao Qingchun, He Huimin, and many other authors, as well as Liu Jingzhou's Chu Bamboo Slips and Calligraphy. The original novel of " The Shadow of Beacon Burning Plum Fragrance " was " The Hitman's Diary of the Pseudo Song Dynasty." The original plot was equally exciting. You can click on the link below to read the original novel.
Appreciation of Calligraphy Works
All the famous calligraphers of the past had created calligraphy works with the word "Fu". These works displayed the word "Fu" in different calligraphy styles for people to appreciate. Among them, there were five types of calligraphy: seal script, official script, regular script, running script, and cursive script. These works displayed the talent and artistic style of the calligraphers. For example, the character "Fu" written by Emperor Kangxi was considered to be a symbol of infinite mystery and infinite blessings. In addition, Wang Xizhi, Zhiyong, Ouyang Xun, Chu Suiliang, Yan Zhenqing and other ancient calligraphers also created exquisite works of the word "Fu". These works not only had artistic value, but also symbolized good fortune and good luck.
Were Han bamboo slips and silk slips the same font?
The Han bamboo slips and the bamboo slips were not written in the same font. Han bamboo slips referred to the phenomenon of people writing on bamboo slips during the Han Dynasty. It was an ancient form of writing. On the other hand, bamboo slips and silk referred to the way ancient people wrote on silk fabrics, which was an important cultural heritage. Although both bamboo slips and Han bamboo slips were written in Chinese characters, the font used was different. The script of bamboo slips and silk is usually evolved from official script, while the script of Han bamboo slips is more dependent on regular script and running script. Therefore, even though both bamboo slips and Han bamboo slips were written in Chinese characters, their writing style and font structure were different.
Appreciation of Lanting Calligraphy Works
Lanting's calligraphy works were worth appreciating. Take Wang Xizhi's Preface to Lanting Collection as an example. It was a preface written by Wang Xizhi, Xie An, Sun Zhuo, and other forty-one people during a gathering at Lanting on Kuaiji Mountain on March 3, in the ninth year of Yonghe of the Eastern Jin Dynasty (353). From a literary point of view, this article started from the customs of the Eastern Jin Dynasty. It drew out the feelings of life and death from the way people lived in the world, pointed out that the feelings of ancient and modern times were the same, and stimulated people to think about the deep common feelings of birth, aging, illness, and death in the dialogue between ancient and modern times. Its writing was natural and natural, and its diction was like flowing water. It was an excellent prose work. From the perspective of calligraphy, the Preface to Lanting Collection was known as the world's first semi-cursive script. It was a model for calligraphy lovers to learn, whether it was brush calligraphy or hard pen calligraphy. The beauty of his calligraphy lies in his nimble and charming strokes. In terms of modern Lanting calligraphy works, some of the winning works of the Lanting Award also had their own characteristics. Some works won with spirit, seemingly scattered but not scattered. Although the writing seemed messy, it had a unique "scattered" charm. This style was unique in the contemporary trend of calligraphy creation that pursued a sense of form and integrity. Some wrote the literary spirit. In the process of cursive writing, the strokes, font shapes, and the arrangement of chapters were carefully handled with the attitude of a scholar, exuding literary spirit in the overall realm. There were also works that displayed their skills in the brush and ink. For example, the center of the brush was mainly used to avoid dullness. The ink color was mainly thick ink, and the rising ink, light ink, and dry brush were used to add vitality. The control of the brush was strong. There were no dead or dull strokes in the strokes. Every stroke was full of vitality. Moreover, it integrated a variety of classic inscriptions styles, showing the author's ability to integrate classic works. Yi Bingshou's official script,'Lan Ting Pan Gu Five Character Couplet,' was also very appreciative. The first couplet of this work,"A Chant and a Chant," comes from "Preface to the Orchid Pavilion," and the second couplet,"Drinking and Eating," comes from Han Yu's "Preface to the Valley." Yi Bingshou was good at official script. His writing style was rigorous. The center stroke was straight and thick, and the swallowtail was vague. The structure was rich and broad. The font was square, fat and thin, or the combination of virtual and real. It was subject to the overall artistic effect. The ink color was soft and black like paint. It had the effect of rising ink and the contrast of dry brush. It showed a unique artistic style as a whole. His works were regarded as an important model for learning and inheritance. The novel "Listening to the Rain in Green Bamboo and Watching the Egrets" is equally wonderful. Everyone is welcome to click and read it!
Appreciation of Youth Calligraphy Works
The following are some of the appreciation of the young people's calligraphy works: - Cai Nina's official script work,"Presented to Luqiu Chushi," from Class 21 of Year Two of Maling Middle School, was selected for the first Youth Calligraphy and Seal Cutting Exhibition in Jiangsu Province, which showed the achievements of teenagers in official script calligraphy creation. - The 12-year-old Li Ming had an original calligraphy work with positive energy,"All Rivers Run Into the Sea," which showed the potential of young calligraphy. - There were many excellent works in the 4th Yangtze River Delta Youth Elegance Exhibition Collection Activity, such as Xu Ziqian (Qingpu District Middle School)'s Ancient Poetry. Although the poet felt lonely when he bid farewell to his friends, he used the Ice Heart Jade Urn as a metaphor. By writing this poem, he could encourage himself to face setbacks. Ge Qianrui (Xu Jiaoyuan Affiliated High School) wrote Seven Laws·Long March, which was a revolutionary epic about the Red Army's Long March, reflecting the fearless spirit and revolutionary optimism of the Red Army soldiers. Zhang Jianxin (Shanghai Middle School) wrote Youth Journey, which conveyed the idea that a strong youth would make the country strong. Xu Zichao (Jiangyin City Secondary Professional School Xu Xiake Campus)'s "Running Script Ode to Twenty Great Poem", the use of allusions in the poem is accurate, the words are elegant; Zhang Ruoyu (Shanghai City Xuhui District Education College Affiliated Experimental Middle School)'s "Teacher Shuo", attacked the bad habits of being ashamed of being a teacher at that time, hoping to advocate the atmosphere of persisting in learning from teachers. "Her Shenzhen-Writing the Future" is equally exciting. Everyone is welcome to click and read it!
Appreciation of the latest calligraphy works
The following is some information about calligraphy works that can be appreciated: There is Wang Wei's "Lovesickness" of the Tang Dynasty. I hope you can pick more, this is the most lovesick) calligraphy creation, as well as semi-cursive calligraphy "Caigen Tan"(I) and other works for appreciation.
Guodian Chu bamboo slips and Shangbo bamboo slips?
The Guodian Chu bamboo slips and the Shangbo bamboo slips were ancient Chinese documents collected in the Chinese History Museum and the Shanghai Museum respectively. The Guodian Chu Slips were bamboo slips from the Warring States Period. They were engraved with rich content, including law, politics, culture, religion, and so on. The bamboo slips from Shangbo were from the Han Dynasty. They were engraved with words that included history, culture, philosophy, medicine, and other aspects. These documents had important reference value for the study of ancient Chinese history, culture, language, religion and other aspects.
Appreciation of Pavilion Style Calligraphy Works
The pavilion style calligraphy was a style of calligraphy from the Ming and Qing Dynasties. It was neat, smooth, and vigorous. Shen Du of the Ming Dynasty was one of the representatives of the pavilion style calligraphy. His work, Jing Zhai Zhen Ce, was considered to be the highest level of the pavilion style calligraphy. This work had a standard font, strong strokes, even knots, neat rows, rich appearance, elegant grace. In addition, the court examination paper of Zhao Bingzhong, the top scholar of the Ming Dynasty, was also one of the precious relics of Guange calligraphy. Guange calligraphy was widely used in court documents and imperial examinations during the Ming and Qing Dynasties. Its standardized font and easy-to-read characteristics made it an official calligraphy style. However, for the development of the art of calligraphy, Pavilion Style Calligraphy was sometimes considered an obstacle because it was too standardized and lacked personal style and innovation. In general, the works of calligraphy in the pavilion style were still worth appreciating and learning today because they showed the skills and talents of calligraphers in the Ming and Qing Dynasties.
Appreciation of Heavenly Blessing Calligraphy Works
Heavenly Blessing Calligraphy was a form of art with an excellent meaning. It conveyed the pursuit of good fortune and beautiful things through the expression of calligraphy. These works usually used four words, such as " Heavenly Blessing ", where " Heaven " referred to heaven," Ci " referred to rewards and giving," Hong " referred to great things, and " Fu " referred to good fortune and beautiful things. These works were based on calligraphy and were complemented with flowers, bamboo, stone, and other elements to make the works richer and more complete. The Tianci Hongfu calligraphy works could be used to decorate the living room, bedroom, and other spaces. It could also be used as a wedding gift for friends. These works were full of ink, and the strokes were swift and unrestrained, giving people a pleasant visual enjoyment. In general, the calligraphy works of Tianci Hongfu were a meaningful and artistic form.