Wei And Jin Ancient Origins Analysis Theory

The Wei [(220-265)] and Jin [(265-420)] dynasties occupy an important position in the history of [Chinese] Calligraphy. Though, after over a thousand years of natural disasters and human destruction, we cannot see the real appearance of the calligraphic style of the Two Wangs [Wang Xizhi (303-361) and his seventh son Wang Xianzhi (344-386)], which represents the highest achievement of Chinese calligraphy. How to interpret with efficacy the works trasmitted by history and how to establish the logical correlations between the various calligaphic styles, are two difficult questions for the scholars of Chinese Calligraphy. This dissertation aims to provide a descriptive scheme for the evolution of calligraphic styles; furthermore, on such a methodological basis, this text attempts to explain certain calligraphic concepts relating to the evolution of the calligraphic styles.This dissertation firstly analyses the linguistic meaning of the word 'rules' (fadu), which is one of the essential questions for Chinese Calligraphy (shufa). The word 'fa' (rule, technique) represents men's cognition of things and events, 'shufa' (calligraphy) is the consciousness of the action of 'writing', while 'bifa'(technique of the brush) consists in the realization of the visual possibilies of the 'bichu' (brushwork). From a cognitive point of view, this thesis researches the nature creation of 'regularity' in Chinese Calligraphy and the causes of the formal evolution of Chinese Calligraphy.The li script configuration of strokes (lishi) broke the visual balance of the zhuan script towing line (zhuanyin), thus reflecting the acquirement of consciousness during the action of 'writing' . With the formation of the regular script (kaifa), Chinese characters have summarized and condensed the contents the new formal possibilities of the action of 'writing'. At the same time Chinese characters have created a new visual 'force' balance. This study focuses essentially on the 'dispersion' of the zhuan script 'towing line' arisen by the formation of the li script configurations of strokes, and on the final formation of the regular script (kaifa). Morever, by comparing the formal features of characters in the texts written on bamboo, silk and paper fragments with those of famous calligraphers' autographs, this dissertation analyses the crucial events questions in the development of the calligraphic styles.After the formation of the 'regular script' (kaifa), what people had to face was no longer the action of 'writing' (shuxie) itself, but the re-creation of certain established visual forms . Therefore, in the following history of Chinese Calligraphy, how to manage the relationship between the action of 'writing' (shuxie) and 'rules' (fadu) became the starting point for a logical unfolding of a series of basic concepts.