By "yizhou Double Barge Pole", "wide Yizhou Double Renewed" Theory Of The 19th Century Calligraphy Thought Evolution

The19th century is a turning period of China’s society when western civilization landed, two different cultures clashed and crisis was imposed upon Confucianism. Intellectuals in the19th century, as the core force in defending Chinese culture, felt the sense of crisis especially vividly. Bao Shichen and Kang Youwei, as fairly typical representatives of the intellectual class, both believed in Confucianism and expected social achievement with their status and knowledge. After Mid-Qing dynasty, as academics started subtle changes, practicality prevailed. Later, school of new classics emerged. Bao Shichen, worried about society, traveled everywhere, became a leader of social tendencies. Kang Youwei, a master of Confucianist classics, with a peculiar personality, tried influencing the emperor, managed newspapers, reformed government and exiled. Both of their social and academic activities have with distinct marks of times.Calligraphy is an important branch of Chinese culture. It occurred in farming society and confucianist rituals, but its origin was experiencing crisis in the19th century, especially after emperor Xian Feng and Tong Zhi. Bao Shichen and Kang Youwei, as members of Confucianist intellectuals, they on the one hand followed Confucianist doctrines and pursued social practicality, on the other hand practiced calligraphy in their leisure time. Due to the specialty and ambiguity of their identity, they put their calligraphy under the rules of Confucianism. This dissertation will fi rst discuss the influence of Confucianism on the two works by them——Double Pedals for the Boat of Art (Yi Zhou Shuang ji) and Extension of Double Pedals for the Boat of Art (Guang Yi Zhou Shuang Ji). In this way, the homogenei ty and alienation of Confucianism will be anal yzed. Then, based on the theories put forward by the two works, in the perspective of construction and deconstruction of calligraphy history, Bao and Kang’s opinion to call igraphy history will be presented. Thirdly, from the text of the two works, referring to the ambiguity and personality in their calligraphy criticism, the heredity and changes in calligraphy criticism will be elaborated in the perspective of subconsciousness and physics, hence shedding light on the traits and development of the19th century calligraphy. Lastly, features of calligraphy aesthetics will be discussed in three dimensions, namely the appreciation of the old and depreciation of the modern, statement of perception and appeal of will and limited imagination and unlimited imagination. With these analyses, the relationship between calligraphy tradition and Confucianism philosophy should hopefully be clarified, the theoretical basis of the two works discussed and the trends and changes of the19th century calligraphy criticism elaborated.