An Analysis Of The Spatial Structure & Creation Style Of Pu Hua's Calligraphy

As the famous painter and calligrapher in the end of Qing Dynasty, Pu Hua was in the shadow of the other great artists of his age in quite a long time. As the time goes into the 21 century, more and more traditional artists who had distinct artistic temperament and modern creative mind, Pu Hua would be strongly interested by the people once again. After all he built up the bridge between the past and the future among the modern history of the Chinese painting and calligraphy. His creative style deeply influence not only on the techniques of the works of "School of Shanghai", but also be valued for his creation jobs by the contemporary research.Firstly, the thesis put Pu's works in the academic tendency of his day, concerning the region and culture issues which he was brought up, especially his rough and rugged paths of life, in order to analyzing the historical origin and social factor of his creations, and his talent of the art and diligent attitude as well. Secondly, with the help of the relative modern art theory, mostly the way of the spatial structure research, the article attempted to rediscover the artistic style and the aesthetic ideal of the artist. Finally, based on the principle of Chinese art in the emotional regularity, the thesis pointed out the high success of Pu Hua' efforts and the inspiration which he gave us all.The body of the thesis is divided into three parts.Chapter One: Lifetime of Pu Hua and the background of his artistic activity. This chapter illustrated on the academic traditions of the late Qing Dynasty and the social circumstances in the southern of Yangzi River. The thesis also introduced the situation of the "School of Shanghai" and the Pu's relationship with the group members. Through the discussion of the life and the friendship of Pu, we could clearly understand the characters and the original spirit of his art.Chapter Two: The analysis of spatial structure characteristics of Pu Hua creations and his artistic styleChapter Two is the key part of the thesis because of the explanation of Pu's elements of calligraphic structure. In addition, the line of his calligraphy full of tension and good sense of motion, making the whole creation reach an ideal state.