The Huashan Monument School And Qing Monument

This thesis aims to study the case of the stele of mount Hua(华山碑). Based on the propagation and reception of the Stele of mount Hua in the calligraphy history of the Qing dynasty, the thesis analyses the calligraphy concepts and calligraphy practice that the Qing calligraphers imitated the stele in Han dynasty and discusses the logical relationship existed between the stele of mount Hua and the inscription in the Qing dynasty, thus more clearly finding out about the historical developing track of the Qing dynasty inscription.The main body of the thesis explores the problems from the following four parts. It firstly expounds people's attention to the Stele of mount Hua before the Qing dynasty, which points out that owning to the blind worship that Cai Yong is the father of calligraphy, people in the Tang dynasty identified the stele of mount Hua had been written by Cai Yong(蔡邕), but they couldn't find the authentic evidence. Inscriptions experts in Song dynasty emphasized historical textual research because of their controversy over the stele of mount Hua. Due to the obscuration of the writing technique in the tablets of Han dynasty, people in the Ming dynasty misunderstood more about it. The Han Li brushwork wasn't aroused from it until the end of the Ming dynasty. It secondly discusses the influences that the Stele of mount Hua had on the calligraphy circles in the early Qing dynasty. Clued by Wang Hongzhuan's (王弘撰)collection of the stele of mount Hua and Zhu Yi-zun's (朱彝尊)comments on the the stele of mount Hua, the thesis unscrambles that t the stele of mount Hua expanded its influence in northern and southern areas and the trend that the calligraphy circles in the early Qing dynasty imitated the Han Li brushwork had become more and more popular.Based on the analysis of the Huashan Tablets'two accepted modes, respectively exemplified Jin Nong's(金农) imitating mode and Lu Zan's(陆瓒) imitating mode as different study cases, then it expounds breakthroughs in tablets-imitating concepts and creation practice in the middle of Qing dynasty.Finally it discusses the wide propagation and reception of the stele of mount Hua in the tablets studying sports after the Qianlong(乾隆)and Jiaqing(嘉庆)years.In the end, it draws a conclusion that the canonization of the stele of mount Hua in the calligraphy history of the Qing dynasty is not only the accidental coincidence but also a historical necessity and it has the significance of deconstructing the canonization and it reflects the concepts of calligraphy, not the famous inscriptions.