A Study Of Force And Dance In Han Dynasty Calligraphy From A Natural Perspective

Since the beginning of the 21 st century,calligraphy practice has gradually returned to the traditional learning method of "temporary post-creation".Influenced by the Western scientific view of nature,formalism is rampant in the calligraphy world,and calligraphy creation ignores the volatilization of human temperament and the sense of interaction with nature,as well as the cultural connotation and artistic spirit related to it.In the contemporary book world,there are problems such as the convergence of work styles,the shallow background and the unclear source of calligraphy activity by calligraphers.Starting from the relationship between calligraphy and nature in the Han Dynasty,this paper analyzes the two characteristics of force and dance in calligraphy.It reveals the phenomenon of the visual form of calligraphy being aggravated,and the power and dance shifting to a secondary position in the current calligraphy creation.In view of this phenomenon,this paper starts from the "Shengsheng" view of nature in Chinese philosophy,and analyzes the connotation,relationship,representation and rheology of the two characteristics of power and dance in Han Dynasty calligraphy.Finally,from the three parts of aesthetic subject,object and practice,the implementation and transformation process of force and dance in calligraphy art are pointed out.Chapter 2 discusses the origin of the Chinese view of nature and the natural properties of calligraphy.First,it points out that the Chinese philosophy of nature takes "birth" as the main connotation,and the relationship between nature and people is not a conflict but sympathetic communication and creation.Second,the "Shengsheng" view of nature is embodied in the Han Dynasty book theory as the generation of the "potential" theory,which directly points to the stroke and structural forces;Calligraphy is a linear,abstract depiction of the power in natural objects.Third,the "pictographic" character of calligraphy is also inseparable from nature.Chapter 3 explains the concepts,representations,relationships,and changes of force and dance in Han calligraphy from a natural perspective.First of all,the concept of force is related to "potential",which is embodied in Han calligraphy as an abstract depiction of various forces in nature;The concept of dance is contained in power,which is reflected in Han Dynasty calligraphy as a dynamic depiction of natural objects,aestheticizing power,with a stronger expressive and dynamic feeling,and providing a theoretical prototype for the development of cursive writing in Wei and Jin;Secondly,under the concept of "Shengsheng" nature,the representation of the power and dance of calligraphy in the seal,subordinate,kai,line and grass is investigated.Thirdly,it is pointed out that the relationship between nature,force and dance is an interactive sensory relationship dominated by the concept of "life".Finally,it is pointed out that the evolution of calligraphy in the Han Dynasty was a process of reducing natural attributes and improving cultural attributes.In order to solve the current situation of the proliferation of formalism in the contemporary book world.From the perspective of nature,this paper analyzes the characteristics of calligraphy and dance in the Han Dynasty,and points out that the activity of calligraphy comes from nature,manifested as the power and dance of lines,reflects the sympathetic interaction between nature and people,and reveals the creative role of force and dance.In the hope that the vitality of calligraphy will reappear.