A Calligraphy Creation Based On The Small Pieces Of Bronze Inscriptions And Wu Changshuo's Seal Script

China has entered the "Bronze Age" since the Xia Dynasty,and the corresponding bronze inscriptions,also known as inscriptions,first appeared in the middle and late Shang Dynasty.Bronze inscriptions developed to the end of the Shang dynasty and still did not form a more unified style of diction,the number of words was small,and from the perspective of calligraphy,there was still no specific style,but the inscriptions of this period were established in practice for later generations The basic framework of dignity and model.Bronze inscriptions developed to the Zhou Dynasty,and the content style gradually developed towards a certain format.The first change in the inscriptions of the Zhou Dynasty was the increase in the number of characters.From the single characters and image inscriptions composed of three or five characters in the Shang Dynasty to twenty or thirty characters,then several hundred characters of bronze inscriptions appeared in the later period.Also formed a fixed formula.The research object selected in this article is the inscriptions that appeared in the early Zhou Dynasty.The main feature of these inscriptions is that there are few words,usually about two or three crosses,which I call inscription sketches.The purpose of choosing this part of the works as the research object is that the development of all aspects of the bronze inscriptions at this time is not yet mature,with natural inherent attributes,and some characters have not yet got rid of the figurative pictographic nature,and a large area of blocky decoration has appeared.The strokes show an inherent naturalness.Compared with the inscriptions on the artifacts of the late Western Zhou Dynasty,although all aspects have gradually matured,the inscriptions on the artifacts have gradually become stylized.For example,the widespread use of the "seal quote" technique made the inscriptions on the artifacts in the late Western Zhou Dynasty almost all tend to be rectangular,and the various rules and regulations also made the inscriptions on the artifacts more restrictive.In contrast to this,the inscription sketches exhibit a unique "degree of freedom".From the perspective of calligraphy,this kind of "degree of freedom" makes the inscription sketches vary in size and size,giving a sense of rhythm;the relationship between characters is close.,Has the feeling of touching the whole body;the composition is dense and dynamic,and has the artistic beauty that disappeared in the inscriptions of the artifacts in the late Western Zhou Dynasty.Although the early inscriptions on inscriptions of the Western Zhou Dynasty had a "sense of design",but from the perspective of calligraphy,it still lacks intuitive calligraphy pens,so the author here uses the seal script pens of Wu Changshuo,a scribe in the late Qing Dynasty.The reason why Wu Changshuo’s seal calligraphy was chosen to study the inscriptions on inscriptions is that the use of Wu Changshuo’s seal scripts is as full and vigorous as iron wrapped in cotton.This texture is suitable for the vicissitudes of inscriptions.I think the two can complement each other.,So that the inscription sketches can be rejuvenated.This article takes the inscription sketches as the main research body,and uses Wu Changshuo’s seal script as the medium to excavate and learn the inner calligraphy technique and language of the inscription sketches in a simple and simple way.This article is roughly divided into three parts: the first part is the background of the times when the inscriptions essays appeared.It analyzes the internal cultural and aesthetic factors contained in the inscriptions essays from the perspective of traditional Chinese culture,as well as the artistic characteristics of Wu Changshuo’s seal script;The sketches of inscriptions and Wu Changshuo’s seal scripts are summarized from the perspective of calligraphy techniques.For the sketches of inscriptions,the author will borrow certain geometric elements to analyze;the third part is the technical language summarized in the second part,using appropriate calligraphy tools.Trial creative activities;the fourth part is a summary of the first three parts,using a more concise language to sort out one’s own calligraphy consciousness literally.