Chinese character studies mainly study the form of Chinese characters. There are two angles to study the form of Chinese characters: one is to study the form only based on the form, without contacting the pronunciation and meaning of the characters. This kind of research can be called the study of the external structure of Chinese characters; Another angle is to study the form by combining the pronunciation and meaning of the characters. This kind of research can be called the study of the internal structure of Chinese characters. For example, from the study of the external structure of the word "thinking", the first step is divided into "phase" and "heart", and the second step "phase" can also be divided into "wood" and "eye". "Heart", "wood" and "eye" are called basic components. These three basic components can be broken down into strokes. For example, "eye" is divided into vertical, horizontal fold, horizontal, horizontal and horizontal. From the study of the internal structure, "thinking" is divided into two radicals: "xiang" and "xin". "Xiang" represents sound and "xin" represents meaning. The characters composed of radicals representing phonetic and meaning are called pictophonetic characters. Our course only studies the external structure of Chinese characters. From the perspective of external structure research, Chinese characters have three levels from small to large, namely strokes, parts and whole characters. Let's study these three levels below. 1. Strokes When writing Chinese characters, the traces left by the movement of the pen tip on the writing material from the time the pen is put down to the time it is lifted are called strokes. Stroke is the smallest unit of Chinese character configuration. When studying the strokes of Chinese characters, we should pay attention to the following four issues: (1) Number of strokes. The number of strokes refers to how many strokes each Chinese character has. When learning Chinese characters, you need to be able to accurately count the number of strokes in each character. The calculation should be based on standard fonts and not on non-standard fonts. For example, the standard glyph for "bone" is 9 strokes, while its old glyph " " is 10 strokes. The standard glyph for "xiang" is 11 strokes, while its old glyph " " is 12 strokes. The "Modern Chinese Common Character List" stipulates the number of strokes in each of the 7,000 common Chinese characters, which is the standard for the number of strokes in Chinese characters. (2) Pen shape. Stroke shape refers to the shape of strokes. There are five basic stroke shapes of modern Chinese characters, namely horizontal (一), vertical (∣), left (丿), dot (ヽ), and fold ( ). Horizontal includes lifting ( ), dots include 捺 (乀), vertical hook ( ) returns to vertical, and folding includes various folding pens, such as horizontal folding ( ), vertical folding ( ), skidding folding ( ), etc. Among the five basic stroke shapes, horizontal and vertical strokes appear most frequently. (3) Combination of strokes. The combination of strokes refers to strokes and the combination types of strokes. There are three types: 1. Separate, the strokes are separated from each other, such as: Sanchuan Xiaoliu Diao Xi. 2. Connecting, strokes are in contact with each other, such as: factory, mouth, work, etc. 3． Intersect, strokes and strokes intersect, such as: ten feet in the car and good luck. "Knife" and "Li" are both composed of folding and skidding, but the combination relationship is different. "Knife" is connected and "Li" intersects. "八", "人" and "乂" are all composed of apostrophes and 捺s. "八" is separated from each other, "人" is connected, and "乂" is intersecting. The word "Shi" has five strokes. The first three strokes are connected to form a flat mouth shape; the fourth stroke is a stroke, which intersects with the flat stroke; and the fifth stroke is a stroke that intersects the stroke. (4) Stroke order. Stroke order is the order of strokes when writing Chinese characters. The basic rule of stroke order is: horizontal first and then vertical, such as: Shi Qianfeng. First leave it out and then suppress it, such as: Ren Bayi. Go up first and then go down, such as: three times stay high. First left and then right, such as: Chuan Yan does it. First outside and then inside, such as: the moon is uniform. First the middle and then both sides, such as: Xiaoshuiban. Go in first and then close the door, such as returning to the country. The above rules cannot generalize the stroke order of all Chinese characters. In order to standardize the stroke order of Chinese characters, in April 1997, the National Language and Character Working Committee and the Press and Publication Administration jointly announced the "Standards for the Stroke Order of Common Chinese Characters in Modern Chinese" (Chinese Language Press, August 1997 edition), which stipulated the standardized stroke order of 7,000 common Chinese characters. . The stroke order of each Chinese character in "Modern Chinese Common Character Stroke Order Standards" is expressed in three forms. For example: Fire, four strokes, following pattern: Fire stroke pattern: 丿丿丿, Serial number pattern: 4 3 3 4 Ridge, ten strokes, following pattern: Stroke pattern: 丶一丿,丿丸丨One by one serial number pattern: 4 1 3 4 3 4 2 5 1 1 2. Parts Parts are also called radicals, characters, graphemes, code elements or structural blocks. They are word-forming units composed of strokes that have the function of assembling Chinese characters. They are generally larger than strokes and smaller than whole characters. (1) Disassembly of components. Splitting Chinese characters into components is called component splitting. Some components contain smaller components and become multi-level components. For multi-level components, they should be split layer by layer according to the structural level from large to small until the basic components. The base component is the smallest component that is no longer taken apart. Component splitting is mainly used in the design, management, scientific research, teaching and publishing of Chinese character encoding in the field of Chinese information processing, and can also be used as a reference for Chinese character teaching. The disassembly rules of components mainly include: 1. The separated assemblages are split along the dividing groove. If there is only one dividing groove, it will be split into two parts along the dividing groove. For example: Private - He, Sibing - Qiu, Bagu - Piao, Gutang - Go, Shang. When there is more than one dividing ditch, remove the long one first and then the short one. For example: Xiang - Xiang, Xin Cui - Earth, Xiang Xiang - Wood, Eyes Xiang - Li, Mouth Chang - Gate, Chang Xuan - Chuan, Li Chang - Yue, Yue Li - Shan, and Shao - Yin, Zhaoyin - Li, Rizhao - Dao, Kouli - Qi. When several dividing ditches are equal in length, divide more along the dividing ditches. For example: Hong - 氵, gong, niaochang - 艹, 曰, 曰 2. The connected combination is split from the joint. For example: ancient - ten, mouth name - Xi, mouth. When there are more or less contacts, remove the ones with fewer contacts first and then the ones with more contacts.

For example: Chong——亠、Yun (only one contact point) Yun——厶、儿 (there are two contacts) 3. Intersecting combinations are not split. For example: East cannot be split into "qi" and "small" Heavy can't be split into "qian" and "li" 4. The lower limit of splitting is generally larger than the stroke. For example, "two" cannot be split into "one" and "one". "人" cannot be split into "丿" and "乀". "Yuan" should be split into "er" and "er", but not into "yi" and "wu" to avoid splitting into single strokes. 5. The independent single strokes are parts, and the ones that are not independent are not parts. Whether it is independent depends on whether it has a structural relationship with adjacent stroke combinations: those with this relationship are components, and those without such relationships are not components. Separate single strokes become components, for example: Dan: split into "日" and "一". The combination relationship between the two is the same as the relationship between "曰" and "曰" in the character "Chang". Luan: split into "tongue" and "乚". The combined relationship between the two is the same as the relationship between "tongue" and "刂" in "gua". Magic: split into "unitary" and " ". The combination relationship between the two is the same as the relationship between "unit" and "li" in "You". 6． Whole words containing multi-level components are split from large to small, and the resulting components are called first-level components, second-level components, third-level components, etc. The smallest component that cannot be disassembled is called the basic component, also called the final component. 7. When using components to encode Chinese characters, it is not necessary to disassemble the basic components. Some coding schemes regard traditional radicals as a whole and do not split them, which is also acceptable. (2) Characterized parts and non-characterized parts. Parts that can be formed into words independently are called word-forming parts. For example: "口" in "OTHER, Ji, Chang, Xiang", "木" in "村, Xing, Dai, sleepy". A word-forming component has a pronunciation and a meaning, and the pronunciation of a character-forming component is its name. Components that cannot be independently formed into words are called non-word-forming components. For example: "冂" in "tube, steel, net, copper", "疒" in "disease, sickness, pain, jealousy". Unwritten parts have no pronunciation or meaning. To make it easier to describe, you can give a name to the unwritten component. For example, "氵" is called Sandianshui, and "冖" is called Tubaogai. (3) Number of basic components. Since the size of the character set is different, the number of split characters is different, and the number of basic components obtained is also different. The "GB13000.1 Character Set Chinese Character Component Specification for Information Processing" published by the National Language Working Committee (Chinese Language Press, 1998 edition) has 20,902 Chinese characters, which are split into 560 basic components. 3. Whole characters A whole character is a square Chinese character, which is the unit of use of Chinese characters. (1) Single characters and combined characters. In terms of internal composition, whole characters are divided into two categories: single characters and combined characters. A character composed of one component is a single character, and a character composed of two or more components is a combined character. Most combined characters are composed of two or three parts. For example: Single-character characters: 一, 人, Ji, volume, and things. Combined characters: BEI, Jie, Zhong, Guo, Lin. (2) Combination patterns of combined characters. According to the combination mode of first-level components, combined characters can be divided into four major categories and thirteen sub-categories: 1. Parallel structure. ⑴Parallel structures on the left and right, such as: Xingyuhe knocks partridges ⑵Parallel structure on the left, middle, and right, such as: Zheban Zhelinnuo 2. upper and lower structure. ⑴ Upper and lower structure, such as: Tai Shi Yao Jing Wan ⑵ Upper, middle and lower structure, such as: Gao Bo Jian Mang Jian 3. Surrounding structure. ⑴Fully surrounded structure, such as: Huixian trapped Guoyuan ⑵The upper three surrounded structures, such as: Ask Xiang Tong Yongfeng ⑶The left three surrounded structures, such as: Kuang Xia hides the ministers ⑷The lower three surrounded structures, such as: Fierce Strike Han You ⑸ The upper left surrounding structure, such as: Erzhen Kaoju ⑹ The upper right surrounding structure, such as Juyun Kexi oxygen ⑺ The lower left surrounding structure, such as: This Jianzhan Qiaomian ⑻ The lower right surrounding structure, such as: Tou Dou 4． The main function of modern Chinese calligraphy is to allow the world to appreciate this ancient traditional art of the Chinese nation. Because writing Chinese characters has long been replaced by pens, pencils, ballpoint pens, etc., using a brush dipped in ink to write, and it has also entered the "computer". Since Chinese character writing has become a "specialized" art, it must pay attention to the "artistic" effect. How to pay attention to the artistic effect of calligraphy? In other words, how to make the infinite changes of the "flowing lines" of Chinese calligraphy give people an artistic enjoyment as beautiful as a picture! The inherent "kung fu" of writing Chinese calligraphy lies in paying attention to the brushwork, strokes, and meaning of the strokes, paying attention to essence, energy, spirit, and rhyme, and paying attention to the writer's mind, thoughts, and changing style. The internal structure, appearance, rhythm, changes, overall layout, etc. of the glyphs. Because the dots, horizontal lines, vertical strokes, strokes, and strokes that make up Chinese characters are made by the writer using brush skills to grasp the rhythm and dynamics of poetry and music of "flowing lines" of depression, elevation, pause, and depression - that is, the movement of the brush. The force can be light, heavy, slow, urgent, pressed, paused, frustrated, fast, flying, and even the entire calligraphy is "written" using techniques like splashing ink - a perfect "calligraphy" work of art. Chinese people have always regarded poetry, calligraphy, and painting as a family, or they say that poetry, calligraphy, and painting have the same origin. In the past, Chinese people used brushes to write poems and compositions, and used brushes for calligraphy and painting. It is natural that they come from the same family. To learn and study Chinese calligraphy, the first choice is "Calligraphy Word Sea", which is a must-have reference book for calligraphers.

"The Sea of ??Calligraphy Characters", which was revised and republished in October 1995 (originally published in November 1994), collects Chinese epigraphic inscriptions and calligraphy inscriptions from all dynasties, as well as Chinese calligraphy ink from 10 countries and regions, including Japan and South Korea, with a total of 65,709 single calligraphy characters. Chinese characters (including 6517 initial Chinese characters), 870 calligraphers from various dynasties, and 316 types of inscriptions. Chinese calligraphy from various schools are collected in one book. It is an extremely valuable "encyclopedia" for learning and researching Chinese calligraphy. Chinese calligraphy can embody a person's spiritual temperament, cultural accomplishment and other overall qualities. Whether it is a single character or a combination of multiple characters, the strength of the strokes and the mastery and coordination of techniques such as starting, continuing, turning, closing, and closing must be appropriate and just right. For example, oracle bone inscriptions must be simple and simple, seal script must be rich in the charm of bells, tripods, and husks, official script must have the essence of Qin, Han, and Wei steles; regular script must contain the majesty and beauty of pines and ancient cypresses in Wei and Jin; running script and cursive script must be Natural and unrestrained, elegant and beautiful, it arouses and gives people viewing pleasure. Chinese calligraphy has endless variations. But all changes must come from nature. If it is too deliberate, it will not be smooth and natural. Only nature will always be the rhythm of nature. Because the contours of nature, its lines, features, and charm are always natural. For example, running script and cursive script, some are strong and steady, like the majestic posture of a lion or a tiger, the calmness and joy displayed by the hoofs and claws, and the vitality of clenching fists and claws; some are as strong and powerful as horse legs, but skinny, The joints are bright and clear, like bamboo, withered vines, or old trees (although not like a faint crow, of course), which have the ideal effect of breaking dry bones or cutting off meanings; some are like the majestic peaks of Xia Yun, and some are like solitary pods. The beauty of self-vibration; some of the characters are "square and round", standing out like a graceful girl, and some are like a rainbow flying across thousands of miles... Chinese calligraphy absorbs the characteristics of nature and gives people the enjoyment of the harmonious and unified beauty of nature. In short, a good and beautiful modern calligraphy work should pay attention to the balance between hardness and softness, lively and vigorous, powerful and handsome, steady and elegant; generous and ups and downs, but also delicate and meticulous; there is solidity in the flow, and spiritual thoughts in the solidity; both flowing water and clouds. , and strange peaks appear suddenly; there are both secluded ravines and turbulent waves. The body should be upright, the posture stable, the spirit elegant, and the shape beautiful; make the dots, horizontal, vertical, left, and back all interesting, and it should be full of fun, colorful, and varied, giving people the feeling and charm of natural and beautiful "supernatural craftsmanship." Modern calligraphy lies in innovation. "Chinese calligraphy absorbs the essence of heaven, earth, nature, and the aura of the sun, moon, stars and morning. We must absorb the advantages and expertise of calligraphy by celebrities of all ages, combine it with personal spiritual thoughts, integrate it into one furnace, and form a unique personal style. It is more valuable. When people describe a good calligraphy work, they often say that it is like a dragon flying and a phoenix dancing, a tiger crouching and a crane flying, and a dragon and a snake moving around. The dragon is strong and soft, ever-changing; the phoenix is ??graceful and graceful; Emotional, strong and powerful; the crane flutters its wings, and the clouds chase the moon; the snake, with its iron hook and silver hook, leaps and dances across the sea, and the phoenix dances in the sky; the tiger crouches in the mountains, and the crane soars in the shadow of the clouds; it is majestic, heroic and unrestrained; The elegance, elegance, elegance and charm are all in it. Chinese calligraphy, the light of Chinese characters, is the treasure of the Chinese nation.