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I. Influence of traditional thinking modes and concepts
Human cultural practices are always under the direct control of their thinking and sense of concept. Therefore, the appearance of people’s cultural creations is inevitably constrained by their thinking. Thus, in the study of traditional Chinese character graphics, we cannot but recognize the influence of the corresponding traditional thinking patterns and concept consciousness on Chinese character graphics.
(a) The legacy of original information
The origin of traditional Chinese character graphics can be traced back to the original stage of the text painting stage, so the ancestors' ideas in the primitive period will inevitably remain in the Chinese characters more or less. We know that the information conveyed by the original physical objects is the basis for the production of words. This will inevitably cause the ancestors to form such a tendency of thinking. “A certain kind of information and meaning, each of which must be attached to a certain physical form, is determined. The image of the potential can be obtained.†Obviously, this kind of mindset has a huge effect on the creation of Chinese characters. The totem that our ancestors worshiped is the best example. The totem worshiped by the original ancestors was plural, with fish, frogs, birds, dragons, etc. being their main types. Since then, it has gradually developed into a totem with dragons and phoenixes as the dominant ones. Therefore, birds and dragons were first used to decorate Chinese characters. This is the earliest decorative Chinese character graphics.
(B) Clustering thinking mode
In the traditional Chinese cultural concept, the concept of "class" has a very important position. The so-called "class" is to emphasize the "likeness" between things. The main body of thinking in the thinking process relies on intuitive language rather than logical argumentation. This kind of thinking characterized by "classes" left a deep imprint on all aspects of all aspects of Chinese culture. In the figure, Tai Chi is yin and yang, dragons and phoenixes are cherished, the "righteousness" in literature, and the "likeness" like in Chinese paintings. Similarly, in the process of the formation and development of Chinese character graphics, this kind of thinking mode has emerged everywhere. For example, the ancient “children†character was painted as a kind of blooming flower. The flower and the juvenile, a kind of sensible analogy, was used in the Spring and Autumn Period of thousands of years ago. Today, it is still the subject of our eulogies.
(3) The effect of the six-word writing method
The Six Books are an ancient Chinese classification of Chinese characters based on the shape of Chinese characters. Some of the early creations of Chinese character graphics were also based on the Six Books. Even in the period when Chinese characters have been fully defined today, some of the six books still contain Chinese characters. Used constantly. The word "six books" was first seen in Zhou Li? The "District Official" includes six kinds of pictographic, referential, intentional, phonological, transliteration, and sham borrowing. The Han Dynasty scholars interpreted the six books as six basic principles concerning the construction of Chinese characters. Indeed, at the beginning of the generation of Chinese characters, the construction of the Six Scripts played a huge role in the composition of Chinese characters. Taking the example of the law of pictograms as an example, pictographic techniques have been developed from pictorial and textual drawings, and they are the closest to pictorial texts and textual drawings. For example, the initial hieroglyphs “The shofar looks like its song, its antler is different, and its image is its proboscis.†After the basic shape of Chinese characters, the writing principles of the Six Books were translated into the creation methods of Chinese characters and continued to be circulated among the people.
Second, the projection of traditional aesthetic concepts
Since traditional Chinese character graphics are a kind of traditional art, it must have a characteristic, that is, beauty. The famous folk artist Mr. Lv Shengzhong praised him with deep feeling: “Chinese characters are beautiful during the time of their creation, and (people) continue to put new style on the characters, and the text becomes more beautiful.†Since the words need to be beautiful, And constantly changing the beautiful form, it will inevitably be influenced by various aesthetic ideas and aesthetic thoughts.
(a) The foundation of Chinese aesthetics
The Chinese character itself is beautiful, and the beauty thought it contains is the basis of traditional Chinese character graphics. First of all, the founder of the Chinese character showed a strict, uniform beauty, with vertical lines and horizontal lines. Although the Chinese character graphic has a great change in the structure of the Chinese character, it cannot be separated from its square shape. Some of them retain the "field" and "environment" of the square. Although the Chinese character graphic has other shapes, such as prisms, triangles, etc., the space it affects is still a square. Its next world is symmetrical and balanced. In the writing of Xiaoxiao, it is required that each stroke should be symmetrical or balanced, and many symmetric words appear in the process of character creation after the change of the Chinese characters. However, the combination of the morphological characters requires a higher level of equilibrium. The aesthetic nature of Chinese characters also restricts the beauty of Chinese characters. Therefore, in Chinese characters, symmetry and balance are very important features. Sometimes it does not hesitate to achieve this balance by sacrificing some strokes of Chinese characters.
(B) The reflection of aesthetic psychology
China is a big country and its various theories are very rich. The view of the United States is more than a matter of opinion. There have been many views on aesthetics in history, such as the theory of emptiness, emptiness, ideology, conception, and materialism. Among them, the theory of emptiness, the theory of words and concepts, and the theory of conception have all exerted different degrees of influence on Chinese character graphics. “Etheism theory†is an idea that embodies the simplicity of an art. It refers to the power of beauty that is embodied in a simple form. Each image, line, color, sound, etc. The beauty of tension. As a kind of artistic symbol, Chinese character graphics often use a few strokes, but it does everything inside and outside of the script. It is really an “empty spiritâ€. “Word theory†means that there is something outside of words. When we read books or write articles, we often encounter one kind of situation that is incomplete or impractical. We will feel that there are so many uninvolved, unpredictable and unconscious experiences that are erratic, complex, and changeless. It is difficult to express or exhaust the language perfectly. This phenomenon is more common in the creation of art, and it is indispensable for this as an artistic Chinese character graphic. We know that most of the creators of Chinese character graphics are ordinary laborers. Their ability to control language is not strong. This drives them to express their inner feelings on the other hand - to decorate texts with graphics and to say in decorations. "Out of their aesthetic thoughts; "Artistic conception" is the perspective of unity. This point of view is considered as an "artistic conception" in aesthetics. The pursuit of artistic conception can be said to be the most popular concept in ancient China, and it is also a summary of the aesthetic effects of artistic works. The artistic conception of Chinese character creation is always created consciously or unconsciously. For example, "sky shadows" was originally unattainable, but Hunan's folk artists are using strange birds to combine. The birds are walking between the sky and the clouds. Using them to symbolize the "sky" and "cloud" is the most appropriate. Here, the "feeling" meaning of Chinese characters is perfectly combined with the "scape" meaning of the figure. It constructs a world in which text and graphics are compatible, avatar, and looming.
(III) In-depth understanding of auspicious ideas
Auspiciousness refers to beautiful features. The combination of auspicious characters appeared early in "Zhuangzi, Human World," "virtue room is white, and auspiciousness stops." Tang Chengcheng Xuanying explained that "the good, good things; auspicious, Jiaqing signs." The concept of auspiciousness comes from the folk beliefs. After the appearance of the text, this concept was also transferred to the decoration of the text. Since some texts originally had auspicious meanings and auspicious decorations, they would be able to enjoy Gilgal and add joy. Therefore, the concept of auspiciousness is seen everywhere in the Chinese character graphics. Moreover, some Chinese characters and graphics have also become decorations in other works of art. They not only use words as auspicious vectors, but even the pronunciation of words is considered auspicious. The use of homophonic images instead of auspicious meaning.
Third, the art of painting and calligraphy
The art of painting and calligraphy is a unique form of art in China. It uses a special writing instrument and carrier to create a special kind of art. It is not only an art for the Chinese, especially for the Chinese literati. It is a place for spiritual sustenance and venting. Calligraphy art has a common origin with Chinese character graphics. During the confluence, they developed side by side. Afterwards, although they did their part, they still interacted with each other. First of all, many calligraphy arts are directly used as a kind of Chinese character graphics. For example, literati writers will also like to use the form of calligraphy to create some interesting or profound Chinese character graphics. Second, there is a special category in the broad sense of calligraphy art, which is the seal. The standard of ancient literati is also good at books, paintings, and golden stone (seal). Among them, the form of the stone art is most closely related to the Chinese characters, and some of them are like the Chinese characters. Since the art of stone is typesetting text on a small square, that is to say, it is necessary to satisfy the distribution of the text and conformity. This requires the author to have a high degree of sense of graphics and art. It is this limitation and the Chinese characters. The creation of graphics has the same kind of limited purpose. Therefore, compared to calligraphy, it is more closely related to Chinese characters. Many designs of Chinese characters are directly copied from the seal.
In short, the cultural implication of traditional Chinese character graphics is broad and profound. Here we only talked about some aspects of thinking, aesthetic psychology, and artistic expression. Traditional Chinese character graphics not only inherited the primitive thinking of mankind, but also embraced the aesthetic thoughts of the Chinese nation for more than two thousand years. It is similar to various arts and highlights the practical value of different people.
Source: Guangxi College of Education
On the Cultural Implication of Traditional Chinese Character Graphics
Art from Chinese characters is a special phenomenon in which Chinese culture is based on the forest of the world. It is concrete, but it is an abstract symbol. It has unique expression in art. We know that Chinese characters record Chinese characters. As a type of characters, Chinese characters naturally have the general characteristics of words. However, Chinese characters also have a special character, which is the ideographic character of Chinese characters. "In the development of Chinese characters, the glyphs always try to achieve some correspondence with the recorded word meanings because the basic spirit is consistent and the Chinese characters are generally considered to be a type of literal text." Similarly, graphics have obvious tables. For purposes of righteousness, it should be said that graphics were produced long before the Chinese characters. Our ancestors were very clever. They used the semantic meaning of Chinese characters and graphics to create Chinese characters and the perfect combination of Chinese characters and graphics. They embellish the glyphs of Chinese characters (generally according to specific needs) and make them special forms; or use defaults, additions, transformations, and other methods to change the basic strokes, frames, and spatial relationships of Chinese characters so that they become newer in meaning. Form, this is the Chinese character graphics. Traditional Chinese character graphics are different from Chinese traditional calligraphy art and are also different from various printed fonts. There are also great differences between them. Traditional Chinese character graphics have many decorative functions and are often combined with folk aesthetic meanings and utilitarian meanings. Traditional Chinese character graphics have their rich cultural implications, and the special cultural characteristics it embodies have always affected our use of Chinese characters today.