Comparative Studies Of Theories In Calligraphy And Painting In Northern Song Dynasty

Chinese calligraphy and painting stemmed from the human practice in therespective field of historical generations, and are presented in every field of thesocial-ecological system. The diversity of historical records and cultural relics vividlyreflected the depths of history. There is an inexorable law existed in the developmentof calligraphy and painting. A comparative study of the theories on Painting andCalligraphy in Northern Song Dynasty shows a common concern of the contemporaryissues. This article aims to focus on the basic issues of concern in the theories onPainting and Calligraphy in Northern Song Dynasty, by sorting out and analyzing,categorizing and refining, present the internal contact and respective characteristics oftheories on Painting and Calligraphy at that age from both the inside and outside,current and past. Try to provide new perspectives and methods of research. Thespecific contents are as follows：1. IntroductionIn this chapter，we begin with the original intention and comparable conditions oftheories on Painting and Calligraphy in Northern Song Dynasty；start our researchfrom the practice of painting and calligraphy under the concept of literary views. First,the urban culture and civil thoughts in the Song Dynasty provided the sameopportunities and conditions for the transformation of painting and calligraphy; themovement of ancient Chinese prose in the Northern Song Dynasty led to theconvention of literature’s style. Second, it is the same cultural group that promoted andactively participated in painting transformation. Third, the theory and practice ofpainting and calligraphy is naturally connected to each other. Finally, the ideologicalchange of the Song Dynasty Painting and Calligraphy is supporting the practice andinnovation in these two areas to some extent, with socially acceptance and lastingimpacts. 2. TextArticles of mind and matter：In the views of officials in Song Dynasty, theseparation or reunion of "heart" and "Matter" is the most important issue to examinethe scholars’ mental changes in Northern Song Dynasty. The beginning of comparativestudies of theories on Painting and Calligraphy in Northern Song Dynasty is in theinteraction between "heart" and "Matter" and their comparative position in paintingand calligraphy theory. It is also one of the art motivations led by the subject-objectrelationship, and the relationship between material and ego. At the cognitive level,compare "the joy of mountains" with "the joy of wealth", emphasizing the creativeself-practice. At the value level, explore “gentleman’s love of the landscape”. At theaesthetic level, lay stress on "the natural fun". At practical level, pursue the creativepractice of "connection with all things in spirit, with all methods in wisdom, obtainby heart, carry out by hand."Moral Principles：Carry out research on common sense logic and regular patternsof theories on painting and calligraphy. Find out and interpret the evolution process ofarguments in theories on painting and calligraphy in Song Dynasty, with theconnection of laws, principles, senses and reasons. By the analysis of "forms andreasons", the self-practice of "accumulation of self-restrain" formation of"novel senses and ingenious words", discuss the moral principles existed in thetheories of painting and calligraphy in Northern Song Dynasty.Form and Meaning： Facing the definition of the form and meaning in thepractice and theory in painting and calligraphy theories, we carry out research from theinternal form and meaning of painting and calligraphy, with the combination of thepractice and evaluation of psychological correspondence on painting and calligraphy,Including three aspects:"meaning beyond form","meaning without form","faint inform, rich in meaning".Artistic Conception： Focus on the different understanding of "artisticconception", by analyzing the content of form of "artistic conception" in the paintingsand calligraphies in Song Dynasty. The pen ink of artists’ emotional experience andpsychological feelings in the practice is a relatively important part of the comparativestudy of Theories in painting and calligraphy in Northern Song Dynasty, Including fouraspects: the artistic conceptualization, the integrity and independence, the outstanding meteorology, and the ancient rhyme.Testimonies： to study the frequently appeared "testimonies" in the theory ofpainting and calligraphy, including the modern definition of people of "set" and"break" in the practice of painting and calligraphy; the solution pattern of "rules" and"measures"; the relation of testimonies and natural values; the variation and conversionof historical traditions; and the realization form of "novel senses and ingenious words".3. ConclusionThe conclusion of this paper is that the relationship between the theories onpainting and calligraphy in Northern Song Dynasty lies in "Thriving when combined,alone when separated". By comprehensive comparisons and classifications in everyaspect, the aesthetic relationship and state between calligraphy and painting is to seekflush from stagger, to compare difference from collaboration, existing in a way of"better performed together".