Song Dynasty Fateh

This thesis is designed to summarize the essential background and history status of the Song Dynasty Standard (includes North-Song Dyn. and South Song Dyn. )calligraphy-copies, while keeping details and citations to a maximum. It has 10 chapters to draw the main ideas and derive a know-how conclusion from all the history facts.First, the thesis tells that the social practice related to so-called "Standard calligraphy-copies (Fatie)" had already existed long before the phrase was accepted to the intellectuals in Song Dynasty. After researching for the original social practice on Standard calligraphy-copies, the thesis tries to tell the most explicit details on the practice of Song Dynasty Standard calligraphy-copies, such as its conceptions, variations, contents etc. especially, the thesis has tried to make it clear what a history existence was about the original copies, sizes, procedures and variant styles. The original copies are those contents used to be copied and engraved onto the stone-boards for making so-called calligraphy-copies. The thesis differentiates the Song Dynasty Standard calligraphy-copies as "the Original-written-content-files", "the Copied-content-files "and "the Metal-stone-engraved Original Contents " and makes an attempt to understand the most details of these variant contents. As a matter of fact, every individual calligraphy-copy had its own size and this size was based on the Original written content file's size. As time changed, the calligraphy-copies were subject to the size changes on the Original written content files after all. And under some cases, there may well be a little constraint between the Standard calligraphy-copies and the Original written content files, this sort of complicated relationship will be fully explained on Chapter 4. And Chapter 5 has a discussion on Song Dynasty Standard calligraphy-copies' selections, editions, copying and engravings. What is more, this chapter gives a lot of details about the Song Dynasty Standard calligraphy-copies' procedures and the formations of art styles.After the internal researching for the Song Dynasty Standard calligraphy-copies, Chapter 6,7,and 8 have tried to catch hold of the actual relationship between the Song Dynasty Standard calligraphy-copies and the Song Dynasty's calligraphy culture. In fact, the editions of Song Dynasty Standard calligraphy-copies were compiled by these calligraphists who desired to meet the history demands, so we can make a whole understanding of the Song Dynasty 's calligraphy conceptions and its culture through the Song Dynasty Standard calligraphy-copies. More important, Song Dynasty Standard calligraphy-copies played a key role on Song Dynasty's calligraphy practice when they were regarded as the most-high standard to emulate. So Song Dynasty's great improvement on calligraphy practice, the expansion on calligraphy education, and the surging emergence of so many of famous calligraphists during the Song Dynasty all were in debt to the Dynasty Standard calligraphy-copies.As a result, Song Dynasty Standard calligraphy-copies had a big contribution to improve calligraphy education and kept the history calligrapgy documents from being destroyed by wars and other factors. These copy documents had a big influence on Song Dynasty'scalligraphy practice as well as on these dynasties followed. And its exclusive pole is invincible though there once was a so-called "anti-copy-ism" in Qing Dynasty.The last chapter has a discussion on 2 historical complex issues about the Song Dynasty Standard calligraphy-copies. And the appendix is a form for a survey result of the Song Dynasty Standard calligraphy-copies compiled by myself.