Why can China's calligraphy become art?

Calligraphy is the skill of writing beautiful or tasteful words. China's calligraphy has been regarded as one of the most important arts since ancient times, and the status of calligraphers or calligraphy works is by no means lower than that of painters, musicians and their works.

"Calligraphy and painting are of the same origin" [1] has long been recognized. In contrast, calligraphy in western culture is only regarded as a skill to build artistic figures, which is more related to practicality than serious arts such as painting, sculpture and music. Why is there such a difference? In other words, why can China's calligraphy become original art?

1. The relationship between writing and painting

Words are visual images, traffic signs are images, and (traditional) painting is also an image. They are all different from the physical images of nature, such as the texture of a rock, the shape of an ancient tree and the footprints of birds, because they are all constructed by people, although both are meaningful, or both can be meaningful. Among them, writing and painting are unique, that is, they may arouse profound aesthetic feeling. Traffic indication images can be correct, correct or incorrect, and even beautiful or not, but there is no problem of beautiful or not. However, both writing (if Chinese is considered) and drawing have this problem.

What's the difference between writing and drawing? On the surface, painting directly depicts or represents something or a certain state, while words are not just hieroglyphics as long as they are words. No matter what its predecessor may have to do with hieroglyphics, once it becomes a written form of language, hieroglyphics will retreat to the edge, although they may also play a role in some words. Language, including writing, is first of all linguistics.

It means, sprachliche

Bedeutung), instead of getting meaning directly from expressing something. Through semantics, it expresses, refers to or implies something or a state. Husserl said:

If we first turn our interest to free symbols, such as printed words themselves, ... then we have an external perception that is no different from other external perceptions (or an external intuitive representation), and the object of external perception loses the essence of words. If it acts as a word again, its representational nature will be completely changed. Although words (as external individuals) still exist in front of us, they still appear; But we didn't go to it. In a real sense, it is no longer the object of our "psychological activities". Our interests, our intentions, our meaning-there are a series of appropriate expressions for this-are only oriented to the practical things that are meaningful in the act of giving meaning. [2]

That is to say, words, as simple physical symbols, are no different from general external perceptual objects or physical images. However, if it works as a word or a word, its image or expression of intentional behavior will be "completely changed". At this time, the intentional behavior is no longer towards it, but it is not completely absent, but through it without paying attention to itself, it gains the ability to mean and give meaning, and points to something or a state of affairs with this ability. Whether Husserl's phenomenological description of lexicalization of words here is complete and appropriate will be discussed later, but his view is valid, that is, words as simple physical images are significantly different from words as words. It can be seen that writing has one more layer than painting, that is, the semantic structure layer.

But in any case, both people have to show some state, and both of them have a problem of showing beauty. This means that their different expressions will have great consequences. Before analyzing this difference and its consequences, it is obvious that we must first find out what meaning the word "beauty" is used in this article.

2. What is beauty?

This is a huge problem that philosophers and aesthetes at home and abroad have been arguing endlessly. Because this paper is a phenomenological analysis, I only give a brief hint or explanation from this angle.

Husserl wrote in a letter to German poet Hofmannsthal (1907 65438+ 10/2): "Phenomenological intuition is similar to aesthetic intuition in' pure' art", and both of them "require strict exclusion of all existing states". [3] Its meaning is that both aesthetic intuition and phenomenon intuition should exclude any presupposition of the existence of phenomena, such as identifying this phenomenon as a physical object and that phenomenon as a psychological object; Or this is just an individual, that is a universal person, and so on; But only directly observe and understand the phenomenon from its pure appearance. Therefore, he wrote: "The more a work of art needs an existential attitude from its own perspective (for example, a work of art even acts as a sensory illusion of naturalism: the natural authenticity of photography), the less pure it is aesthetically." [4]

To sum up Husserl's meaning, artistic beauty must get rid of any existence reservation beyond pure appearance, that is to say, beauty is not an object beyond pure appearance, whether it is a physical object, a spiritual object or an object in World 3. Beauty can only appear in people's manifest experience or be formed on the spot. So, can beauty become the intended object (noema) formed in this pure experience? Or is it possible to be directly experienced through this intentional object or intentional concept? Husserl did not discuss it. In his phenomenological thought, there are not only important objectivity theories, such as the passive synthesis of internal time stream of consciousness and later phenomenology, but also the theory of intentional objectification, that is, all components with cognitive significance should take intentional objects as objectification results. One of the reasons why he seldom expresses his opinions on aesthetic issues may be his hesitation between these two tendencies.

Heidegger fully agrees with Husserl's two propositions: first, beauty comes not from psychological phenomena, but from the original state of meaning and phenomena; Secondly, the appearance of beauty can never be implemented on existing objects. In addition, Heidegger thoroughly or ontologically transformed the latter concept; For him, aesthetic feeling can't be implemented to any intentional object. So, he thinks:

Art is the generation and occurrence of truth. [5]

As we know, Heidegger opposes the correspondence theory of truth (that is, he claims that truth is the correspondence between a proposition and its object of expression, such as the state of affairs), and thinks that truth is an Alecia happening at the scene:

Truth only appears in the confrontation between the world and the earth, in the form of a dispute between the bright and the hidden. [6]

The dispute was brought into the crack, so it was put back into the soil and fixed. This dispute is gestalt. ..... the form is a kind of structure (Gefuge), and cracks are self-embedded as this structure. Embedded cracks are the flash smoke of truth. [7]

The way this truth appears is that the works of art create and keep some kind of crack (Riβ) or form (gestalt), which causes disputes and confrontation between the earth and the world, shielding and opening, or yin and yang, so a vivid open field or Lichtung appears in the dark hidden background. Therefore, the oil paintings of Van Gogh's shoes, as far as they are real works of art, not only arouse psychological reverie, but also tell the use of shoes, but first uncover the original truth of shoes. "Van Gogh's oil painting reveals what this musical instrument, a pair of farm shoes, is. This existence has entered its nonexistent state. The Greeks called existence "no faith". " [8]

This kind of clear light that flashes from the hiding place is beauty. Heidegger wrote:

The light formed in this way embeds its brilliance in the work. This Scheinen embedded in the works is beauty. Beauty is a way of appearing as an undiscovered truth. [9]

Since beauty is the way to reveal the truth caused by artistic works, that is to say, when it is uncovered, it can never be realized as any intentional object, and it has nothing to do with Husserl's transcendental subjectivity, Plato's idea of beauty or the object form that empiricists say causes pleasure. Beauty is the brilliance of the original truth that people experience.

Summing up Husserl's and Heidegger's viewpoints, we can see the following characteristics of beauty: (1) It flashes in the cracks created by artistic works. (2) It is the way the truth appears, or the glory when the truth appears; Let people agree, let people be conquered by it. (3) completely non-object, pure context; In other words, it always goes beyond objectifiable conceptual thinking or image thinking, and cannot be defined as a certain meaning, but it will certainly make people feel full of meaning and emerge at the same time. (4) It is in the middle, between shielding and opening, between the earth and the world, and between Yin and Yang. Later Heidegger called the center of this initial induction "Ereignis", which is the truth of existence and its expression.

3. Differences between Chinese characters and western letters

The western phonetic alphabet takes letters as the basic unit. The purpose of letters is to create an economical form of distinction so as to represent pronunciation, so their strokes are very simple. Take English or German as an example, there are no more than 30 letters, each letter is written by one or three strokes, and there are fewer handwritten strokes, which is almost a book. A word consists of letters arranged in a linear way. Chinese characters are composed of strokes, showing eight strokes of the word "Yong". However, their combination is extremely diverse and nonlinear, which constructs a much richer space similar to the hexagrams in Zhouyi. A Chinese character can be composed of one to thirty strokes, because Chinese characters have constructive functions (referring to objects, pictographs, cognition, etc. ) and representative pronunciation (half of pictophonetic characters). It can be seen that the stroke richness of Chinese characters is not the same as that of western pinyin characters.

And the combination of strokes and letters is much more rigid. The stroke relationship of letters is mostly just contact, less crossing and less separation (it seems that there are only "J" and "I" points). The combination and combination of Chinese strokes can be described as ever-changing. Moreover, letters are used to express sounds and to form words, which are meaningless in themselves, and the single tones they represent are generally meaningless. The strokes of Chinese characters may be intentional (such as "one" and "two"), and their combination is also intentional (such as "wood", "forest" and "sen"; "Fire", "inflammation" and "face" also form sounds (such as "city" and "maple").

Therefore, the strokes of Chinese characters are different from those of letters and characters. They are not equivalent to meaningful words made up of letters. They are fundamentally different ways of meaning construction, which are closer to the "distinctive features" in phonetics.

Features). [10] This distinguishing feature is a pair of pronunciation features, such as aspirated without aspirated, stuffed without stuffed, and voiced without stuffed. Chinese character strokes are basically one-to-one correspondence, horizontal to vertical, left to right, left to right, point to lift, and so on. It is precisely because of this fundamental "duality" that when we look at the previous book theory, when we talk about the situation, structure and even the arrangement between chapters of the text, we often see the expressions of yin and yang. For example, Cai Yong's "Nine Potential" in the Han Dynasty said: "The number of volts comes from nature, stands naturally, is born of yin and yang, and the situation is out. ..... Everything written is a link between the preceding and the following, which makes the situation set each other off. Turn the pen, review it left and right, and do not leave the program. " Zangfeng, pointing out the traces of entry and exit, wants to go left first, then right, and then back to left. [1 1] Ou Yangxun of the Tang Dynasty said, "Divide the white cloth, don't do it horizontally. ..... Don't neglect your head and tail, be short on the left and long on the right, and lean like a human being. This is called downloading, reflecting the east and bringing the west [12] and other suggestions on cross-checking, as well as structural considerations such as "insertion", "retreat", "concession", "adhesion" and "rescue". [13] Zhang Huaiguan, a great book critic in the Tang Dynasty, wrote in the preface of the book: "It has made great progress and become a state of connection, either divided into different fronts or combined with the five elements. Although they complement each other, they are also complementary to each other. " [ 14]

Therefore, Chinese characters have inherent dynamic impulse and structural space. For example, once the upper part of "Bao" (Bao Gai) is written, it will lead to the appearance and correspondence of the lower part; The left side of "North" triggers the right side. In this way, when we look at a written word, we have a sense of echo and structure. The so-called "downloading from the top, reflecting the east and bringing the west" is also true. There is no or lack of this yin-yang structure inside the letters, which tends to be static. The shape of a letter, such as "a", "b" and "c", once written, will be set on that horizontal line, which will not attract or pursue. Chinese characters are sexual and sexy, attracting each other and sometimes repelling each other. Muttering, uneven left and right, which contains countless twists and turns. For example, the word "woman" and the word "person" are words themselves, but once they are on the left or above, invite the other person or below. Therefore, the configuration of Chinese characters itself has the possibility of meaning construction. Xu Shen's Chinese character "six-character" method is based on "referring to things", such as "up and down", because "referring to things can be seen and observed" (Shuo Wen Jie Zi) has direct significance, while pictographic characters (such as the sun and moon), sounds (such as rivers), meanings (such as Wu Xin) and meanings.

From this point of view, Chinese characters or kites flying in the sky, or fish jumping in fish circles, or scratching their heads, attract people to watch and appreciate themselves, while letters are dull, like a train, chains, rows of soldiers or prisoners. The characteristics of letters are almost limited to differences, while the characteristics of Chinese characters are head and face, gender and personality, life and life. Letters should only be arranged horizontally, like goods on shelves; Chinese characters like vertical columns, such as waterfalls, fountains and leaks in old houses (Yan Zhenqing told Huai Su how to write vertical pens).

4. Is the beauty of calligraphy related to the meaning of words?

Chinese characters have a natural impulse to construct meaning, but is the beauty of China's calligraphy related to the meaning of Chinese characters? Or in a broad sense, does the calligraphy of a word have anything to do with its meaning? It seems to be related. Can a person who doesn't know Chinese at all, or who knows Chinese but doesn't know Chinese characters, appreciate the beauty of China's calligraphy? It seems impossible. [15] In that case, Chinese characters are just a strange shape to him, just as Arabic and Manchu are to a Confucian scholar in the Qing Dynasty. When I went to study in the United States in the mid-1980s, although I had seen foreigners in movies and met foreigners by chance on the streets of Beijing, I never appreciated the "beautiful" American female students on campus during my first year in the United States. In this way, the beauty of calligraphy is intrinsically related to the meaning of words. When we appreciate calligraphy, we don't just appreciate it as a pure form. This is different from appreciating painting, although appreciating painting is not only appreciating its pure physical form, but also supporting its cultural potential. In my humble opinion, those pure abstract paintings that have no life and cultural foundation may have important formal prompting power, but they have no direct aesthetic feeling.

But the beauty of calligraphy has nothing to do with the conceptual meaning of words or the meaning of Tao. I have never heard calligraphers or calligraphers say a word because of its beautiful meaning and a word because of its ugly meaning. Even the word "beautiful" is not necessarily beautiful, and the word "ugly" is not necessarily ugly. But traditional Chinese characters and simplified Chinese characters have calligraphy consequences. Mao Zedong [16], who advocated that the reform of Chinese characters "must follow the same phonetic direction as the world characters", used traditional Chinese characters or regular Chinese characters all his life when writing the calligraphy style of his poems, and never used the simplified Chinese characters he advocated. Chinese characters based on Pinyin will undoubtedly lose their calligraphy art completely. So far, no successful simplified Chinese calligraphy works have been seen. Although China people used running script, cursive script and some simplified characters in history, this is because of the historical atmosphere and writing context itself, which is very different from the rigid simplified character system promulgated by the authorities.

It can be seen that when creating or appreciating calligraphy works, calligraphers must understand both Chinese characters and Chinese characters, not just at the level of concept objectification, semantics and syntax. On the other hand, calligraphy is definitely related to the exquisite structure of Chinese characters. Many calligraphers discuss "structure" and "calligraphy potential", but it is not only related to the objectifiable pure form of this structure. The font of Chinese characters has great possibility of variation or change. Yu Shinan's "On the Essence of Pen" said: "Therefore, the soldiers are impermanent and the characters are impermanent; Just like fire and water, the potential is uncertain, so the cloud word is uncertain. " [17] Therefore, it is impossible to confirm an ideal and beautiful Chinese character form, just as Pythagoras confirmed that "the most beautiful three-dimensional figure is spherical and the most beautiful figure is round" [18].

In this case, the beauty of Chinese characters is not only related to its semantics and shape, but also understandable in any objective and conceptual sense. The beauty of Chinese characters is related to its meaning, which implies that it is related to the authenticity of language, especially words. However, as Heidegger said, this truth should not be understood first according to a certain object or state of affairs, but in a non-objective way. This truth is no different from the original poetic contextual meaning of language. Chinese characters are related to their shapes, which means they are related to space, but they are not lines and structures that describe an object or even an ideal object. Therefore, it is neither a sketch of western painting nor a line of letter calligraphy, but a gestalt inseparable from time, and it is a rift in Heidegger's sense (Riβ), which leads to the relative struggle between Yin and Yang and produces new feelings on the spot.

5. How to create a centered experience when writing Chinese characters? (a): The existence of the edge when the structure is triggered.

In addition to the first three characteristics of aesthetic experience (flashing in cracks, light of truth and non-objectification), how do Chinese characters achieve the "center" required by aesthetic experience? To illustrate this point, we can start with a passage from Husserl's Logical Research quoted in the first section above. Husserl thinks that people look at words in two ways. One way is to treat words as objects, just like those of us who don't know Arabic look at those "strange symbols" (I went to Muslim restaurants many times with my mother when I was a child, and there were such images on the signs on the doors). At this time, words are no different from other physical objects. Another way of looking at it is to treat a word as a word, "then its representational nature has completely changed" [19], that is, it has changed from an ordinary object to a literal symbol that stimulates semantics. It suddenly lost its direct objectivity and retreated to the edge of consciousness. "It still shows; But we didn't go to it. In a real sense, it is no longer the object of our' psychological activities'. Our interests, intentions and meanings ..... are only oriented to the practical things that are meaningful in the act of giving meaning. " [20] At this point, the recognizable structure of this text only plays a role in causing meaningful behavior, thus making semantic and intentional objects appear in consciousness. It has become a stepping stone to consciousness, stepping on it towards semantic objects. In this case, the performance characteristics of the text structure itself are completely ignored. If so, it is almost impossible to appreciate the calligraphy beauty of this writing.

Then, if we return to the first writing form, that is, pay attention to its own physical characteristics and formal characteristics, is it possible to have a beautiful experience? It is still impossible, because according to Husserl, at that time, this text is no different from other physical objects, that is, it has nothing to do with its symbolic identity; According to our previous analysis, this objectification, this nonverbal symbol or this foreign language that the viewer does not understand can not lead to the aesthetic feeling of calligraphy. "Water" is not painting water, and its physical form has nothing to do with aesthetic feeling. It can be seen that the two forms of writing experienced by consciousness described by Husserl can't reach the beauty of calligraphy, because they are either body objectification or body objectification. This kind of "image" is different from the "non-objectification" required by aesthetic feeling. It is before and after the "object", that is, the complete export of the object (Spoor and Derrida), and actually becomes the marginal object in the sense of "defined" (that is, matter, hyle or stoff); Non-objectification means that the object is reduced by phenomenology, and its existence or some form is suspended, thus exposing its original state of various possibilities.

The key point here is that in order to show the calligraphy beauty of Chinese characters, we must regard Chinese characters as meaningful symbols and not let them disappear completely under the stimulation of meaningful functions. Instead, the characteristics of its own formal structure still exist and are preserved in the form of words in the text in a non-objectified way. That is to say, even when words attract our attention as words rather than just physical objects, they are not just a bunch of stepping stones to trigger intentional behaviors and corresponding intentional objects, but are composed of meaning, a non-objectified composition. The reason why western calligraphy can't become an important art is that the characteristics of western characters and the way of thinking of westerners (which is intrinsically related to the characteristics of their language and characters) make it impossible or rather weak for the characters themselves to show their non-objectified structure when they participate in meaning assignment. At best, they can only reach the level of fine calligraphy in the amphibious change of "one servant and two masters", one is a physical object and the other is a structure. And Chinese characters, because of the characteristics described in the last two sections, may still maintain their own life (lebendig) when they function as symbols.

Leib, living body), not only a physical object, but also the disappearance of the text body (Koerper).

The construction of Chinese character strokes makes Chinese characters have their own existence in the "reading field of vision", although it is marginalized. Such as "one", "two", "three", "wood", "forest" and "sen" should also participate in the formation of meaning in reading; "Politicians also" ("The Analects? Yan yuan ")," benevolence is man "("Mencius? Dedication ")," Tao can be Tao, extraordinary Tao "("Lao Zi "Chapter 65438 +0)," Wang Daotong Three "("Spring and Autumn Period? Wang Daotong three), its glyph may even be temporarily highlighted during the construction of meaning; Wait a minute. Moreover, this self-existence is not objectified, or at least it can be non-objectified. The yin-yang nature of Chinese character strokes mentioned above makes their functions more complementary and opposite distinguishing features than word-forming atoms. Therefore, the strokes of "wood", "forest" and "forest" are not pictographs of pictographs, but also "objects" and "knowledge", which are dynamically generated. Even when we turn to their glyphs, our attention is not turned to the physical object form of these strokes, but to the meaning formation process they participate in. In other words, the Yin and Yang strokes of Chinese characters are not objectified, because they are always hidden; But it is not concrete, because its structure affects the composition of meaning. This is the crack of strokes, which always leads to meaning, including self-meaning, between invisible images. Letters, on the other hand, don't have this kind of fissure-like centrality, because they follow the sound instead of the sound, have no function of directly giving meaning, and it is impossible to have reflexive meaning when giving meaning. Therefore, when they are regarded as objects, they are objects in physical form; When it is used as a phonetic symbol, it is a material similar to a pin.

6. How does writing Chinese characters produce a centered experience? (B): All-round contextualization of Chinese characters

1. Images and meteorology of Chinese characters.

The inflectional or pictophonetic features of Chinese make Chinese characters acquire all the meaningful life of the context. Western languages such as Greek, Latin, German and Russian are inflectional languages. Their word forms will change with the changes of part of speech, part of speech, singular and plural, voice, person and tense, and sometimes they are quite complicated, such as the changes of verbs in Greek, which convey grammatical and even semantic information. Due to the formal transformation at the morphological level, the independence of words is caused to some extent, which reduces the influence of context or context on sentence meaning and even text meaning. For example, nouns located by changing the form of articles and roots can be placed in different positions of a sentence (such as the end or the beginning of a sentence) without changing the basic meaning of the sentence. For another example, the formal differences of parts of speech lead to the principle differences between words and sentences. You can't make a sentence without a verb, and a linking verb forms a judgment sentence. There are also differences in principle between sentences and texts. Sentences are considered by many language philosophers to have their own meanings, and so on. All these reduce the ability of words and sentences to integrate into the context, increase the formal independence of words and sentences, and thus increase the dependence on punctuation, because the context itself cannot effectively determine the rhythm of sentence reading.

Chinese does not have all these formal transformations, so the dependence and integration of Chinese characters on context is all-round. Chinese characters are not "words", they are all meaning-creating trends with unsaturated meanings, which fundamentally wait for the complete meaning of the context. A word "red" and "Tao" can be verbs, adjectives, adverbs, nouns and so on. In western grammar classification, different contexts form different phenotypes. A word can be a sentence, which seems to be just a noun phrase, or it can be a sentence, such as "a dead vine, an old tree crow" Therefore, for China people, context is everything. Word order, sentence yin-yang dual structure, etc. All these are essentially involved in the formation of meaning and sentences. There is no need for punctuation, because the context itself has its own construction rhythm. The word "scrutiny" may make the whole article look brand-new Although the meaning expressed in Chinese can be grand and poetic, it can also be accurate and meticulous. Only laymen, such as Hegel, would suspect that Chinese characters don't make sense. From the perspective of Chinese character writing, one stroke can be a word, and a word can have more than 20 strokes; A word (such as "bamboo") can be composed of different parts, or it can be a part of other words (such as "cluster").

In a word, Chinese characters are completely contextualized (fundamentally), whether it is the way of formation or the characteristics endowed by Chinese.

Contextualized). This greatly weakens the objectivity of a single Chinese character form. Although, as mentioned above, Chinese characters participate in the construction of meaning with their own structural characteristics and are also constructed, the image structure participating in the construction of meaning is completely contextual and textual. "Niannu jiao? The word "Dajiang" at the beginning of "Nostalgia for Red Cliff" is just a kind of traction and momentum, and its style is in harmony with the style of the whole word behind it. A good calligraphy work is bound to be ups and downs, reflecting from left to right and being grateful from top to bottom. It is precisely because of the contextual characteristics of Chinese characters that there will be a cursive realm that fully reflects this characteristic. For example, Ji Du described Huai Su as saying, "There are dozens of whitewashed corridors full of anger. "Then it will never be called three or five times, with a thousand words all over the wall. (Huai Su's Autobiography) [2 1] Du Fu described Zhang Xu: "Zhang Xu's holy biography of three cups of grass, taking off his hat and revealing the top of the maharaja, like a cloud." (Song) This is completely different from the western "calligraphy" decorated with lines of letters. With these characteristics, China's calligraphy can really become popular in the hands of talented people, and we can get the scenery and meteorology between objects and no images, as well as the unreasonable changes between "sex and rain, materiality" and truth, line and grass (Yi Chuan? Fuck? Xun ")

2. The calligraphy effect of the brush: reveal the internal trend and opportunity.

Finally, the aesthetic feeling of China's calligraphy is intrinsically related to the writing with brush. Hard pen writing, static is a little, moving is a line and a shape; Its point of view is that the line itself has no internal structure, but is just tracing and forming. Brushes are different. The pen tip is a bunch of flexible soft hairs, which are written on blotting paper with ink, so it is full of internal dynamic momentum and timely ability. Cai Yong's "Nine Potential" said: "Yin and Yang are born, and the situation is destroyed. Hiding the head and protecting the tail, the strength is in it, and the pen is hard and the skin is beautiful. " As the saying goes, "When you come to a deep bridge, you can't stop it. It's strange to be soft." [22] Let the brush hide its head and protect its tail, including the nib in stroke writing, and make a turning point, then the strokes of the book will have "power in it". As Mrs. Wei's "Bi Tu" said, every book is horizontal, "like a thousand miles of clouds, it is tangible"; Every book has a point, "if a stone falls from a peak, it is as real as a collapse"; Every time you write a vertical, it is like the hanging of "Long live the withered vine"; Every time you make a hook, such as "a hundred bows and arrows"; Wait a minute. [23] One of the important reasons for this is that the pen is soft: "Only a soft pen is strange", and its strokes can contain great gestures, which makes people feel "beautiful". This is beyond the dreams of hard pen calligraphy. Moreover, this kind of ink-containing brush and ink-absorbing paper will meet at the same time, and Yin and Yang will coexist. You can't hesitate for a moment, let alone reflect. You can only use the opportunity to create a new world, otherwise it will become an ink pig stain. The meaning of pen and ink is great!

Conclusion: These Chinese characters and their writing characteristics are intrinsically related. For example, the characteristics of Chinese strokes, such as the relative construction of yin and yang, the multi-dimensional richness and transformation of construction methods, are different from the inflectional or contextual characteristics of Chinese, and have certain relations. Moreover, a language like ours, which lacks indicators of word formation and grammatical form changes, will face a large number of homophones if it is written in Pinyin, as advocated by the text reformers, which makes Pinyin Chinese characters difficult to read and can only express the most everyday colloquial things. For another example, the multi-dimensional richness and transferability of Chinese character strokes can only be brought into full play by writing with a brush.

Because of the organic existence of these characteristics, the writing of Chinese characters has finally become an art in the hands of talented scholars. Their calligraphy works reveal the truth of Chinese characters, just as Van Gogh's paintings reveal the truth of a pair of shoes. The rich original meaning construction ability of Chinese characters makes them hide or keep their marginal existence when they play the role of language symbols, always leaving traces of contextualization and gesture, and always carrying out "passive synthesis" of potential construction. However, the encounter between brush ink and Xuan paper reveals the anonymity of Chinese characters, the luck of pen and ghost, the pursuit of ethereal and exquisite, and the non-objectification of word cloud in a purely timed way, which ushered in the sunrise of Chinese character truth.