The Preliminary Study On Zhang Huaiguan's Calligraphy Aesthetics Thought

In the Tang Dynasty, calligraphy aesthetics shows the charm of art on the basis of theCombination of Confucian, Taoist and Buddhist. Zhang Huaiguan, a typical calligraphycritic in Tang Dynasty, who is highly successful in the history of Chinese calligraphytheories, his calligraphy theoretical works of calligraphy has a great impact on latergenerations.The thesis based on Zhang Huaiguan's calligraphy theory and conception theory ofChinese aesthetics, it can be divided into three levels for its stage--development fromfigure, imagery to conception. In the first chapter of the thesis,"image" is a combination ofthe conformation and shape that can be the testimonies to common origin the calligraphy,painting, words and taste the current study in details focusing on the scale of calligraphytechniques and physical image. In the second chapter, imagery is the combination of figureand imagery and the general category is summarized as followings: controversies on formand spirit represented by Confucianism, disposition theory represented by Buddhism,image theory represented by Taoism. In the period of Zhang Huaiguan controversies onform and spirit has been focusing on "countenance" and "aeolus backbone" also included.Disposition theory is intended to express sentimental of calligraphy, including settle downtemperand and the content of "forthright". In brief, this chapter mainly focuses on thesubject of calligraphy emotional of calligraphy creation and emphasis on images. The"conception" in the third Chapter introduces of the concept of Confucianism involving ofmysterious, assimilate, intelligence and harmony to discuss the artistic conception ofcalligraphy, focusing on the mode of calligraphy and emphasizing imagery. The thesisconsist of partial keyword of calligraphy aesthetics in China, such as testimonies, tasting,natural, temperament, images, mysterious, assimilate, intelligence, harmony and so on.In the thesis, the author takes the calligraphy theory of Zhang Huaiguan as theresearch object, and looks it as a typical case of calligraphy aesthetics in the Tang Dynasty.The thesis put the theory into the longitudinal coordinate of the history of the development of calligraphy, the history of calligraphy criticism and the history of calligraphic aesthetics.To compare with other theories, the thesis looking for the breakthrough and importantinfluence on the later generations of Zhang Huaiguan and to emphasize his aestheticvalue and significance in the theory of calligraphy.