The Research On Calligraphers Group And Calligraphy Concept Of Ming Dynasty Survivors

The change from political and social change to academic atmosphere,from the thinking of literati group to the innovation of literary ideological trend in the Ming and qing dynasties reflects the background of the great change.Based on its own characteristics and development,this paper seeks to clarify the relationship between the social phenomenon and calligraphy in the field of art sociology.So this article revolve around social change and art trend,group interaction and calligraphy activities,the relationship between the transformation of concepts,and book the wind of change,and the "community" and "calligraphy concept" two main line,expounds theory of "dynasty" : one is "migration shoka community" from the communication and interaction between level,highlight the rendering of ontology;Second,the concept of calligraphy is studied from the two aspects of continuity and transmutation to highlight the aesthetic connotation of the surviving calligraphers and examine their similarities and differences.At the turn of the Ming and qing dynasties,the general trend of the literary circle still continued after the end of the Ming dynasty.Study easy generation of adherents shoka this special colony,first understand their correlation problems,such as political position,value orientation,life state and living environment,national feelings,buddhist ethics and so on,the second is the definition of group,group internal differences,group book wind characteristics and differences,adherents of traditional culture to shoka life choices the impact of related issues,such as the last adherents of interaction of regional problems,could be divided into jin dynasty town,shanxi,jiangsu and zhejiang,lingnan area,purposefully selected adherents shoka concrete cases,adherents of examining the calligraphy association activities of the society.The survivors separated from the political occasions to form an "utilitarian" artistic ecology,and their artistic works tended to be more pure and personalized,forming the style of "wild","solitary" and "barren" with the colors of the survivors,and even the extreme expression of "ugly".On the turning of the concept of calligraphy,there are several lines worthy of our attention:first,the thought of shuxue is especially strong mixed with the national concept.Second,some of the scholars tried to break through the "two Kings" traditional camp,gradually from the ancient to the heart of the teacher.Third,the calligraphers of the survivors themselves have the traditional skills of calligraphy,showing the unique temperament of the survivors in the new social background,coupled with the dual identity of calligraphers and painters,the introduction of "painting" into "calligraphy",has a turn from orthodox to leisure.Four was formed by the rise of various calligraphy inscriptions,the situation in the gallery gradually from cursive to official script,thus in the aesthetic turning to han nationalities "ugly mechanism of primitive simplicity" and "dress slovenly" means.Purpose of this article is to exam proved adherents shoka problems,show their shoka groups such as living environment,life style,social activities,to highlight the special times of calligraphy creation activity,thus stripping cocoon reel off raw silk from cocoons,grasp its creative concept,reveals the law of creation,so as to initiate somewhat to research of the Ming and qing dynasty calligraphy.