Criticize To The Tablet-Calligraphy Theory Of Qing Dynasty

The calligraphy is an important artistic fashion of ancient persons who studied art or improved themselves. It has the evident feature of graceful cultures. After Qianlong and Jaqing of Qing Dynasty, bronze, stone and tablet relics from Han Dynasty, Wei Dynasty and Six-Dynasty began to infiltrate into the study about the calligraphy from the history little by little. So the Tablet-Calligraphy theory came into being. Now we find that persons of Qing Dynasty paid more attention to artistic spirit of tablet carvings from the cultural sight, and there are many defects on recognizing opus. But the theory of the Tablet-Calligraphy and the impulse brought by it directly resulted in the destruction of"the Pith-Strength"on which traditional Tie-Calligraphy lived. At the same time, the calligraphy art formed a kind of complexion that was short of truthful apotheosis. The writing of written by Kang Youwei is not only the concentration of Tablet-Calligraphy theory about Qing Dynasty, but also the crucial stage of recent Tablet-Calligraphy theory. There are important academic value and helpful purport by Studying < Guang YI Zhou Shuang Ji>, whether we study current Tablet-Calligraphy theory and creating, or we look at the course of calligraphy developing since Qing Dynasty.This article bases on the current Tablet-Calligraphy theory and the developing of calligraphy art, and < Guang YI Zhou Shuang Ji> is the core of the study. Beginning with the stone curving calligraphy of South-North Dynasty on which Tablet-Calligraphy theory of Qing Dynasty is based, this article combines with traditional calligraphy theory and relative literature, and expounds the specific surrounding of Tablet-Calligraphy beginning and developing of Qing Dynasty. It is most important that this article first scientifically studies on some central problems of < Guang YI Zhou Shuang Ji> and Tablet-Calligraphy theory of Qing Dynasty, for example replicating stone curving, choosing opus, famous persons, and criticizing opus, etc. The specific content includes several aspects:Firstly, it is the historic and cultural surrounding of beginning with the Tablet-Calligraphy of Qing Dynasty. This past discusses the historic meaning of"Zhuan-Li handwriting resurgence"in early Qing Dynasty, the cultural space of stone curving in Han Dynasty, Wei Dynasty and Six-Dynasty, calligraphy study and the changing of calligraphy value, etc. This part also discusses the academic surrounding of Qing Dynasty, artic evaluation, and tablet-tie collecting, which leads to theTablet-Calligraphy coming into being.Secondly, it is the theory structure and teaching purport of < Guang YI Zhou Shuang Ji>. This part has several comparisons, including"Ancient-Learning","Current-Learning"with historic viewpoint about the calligraphy by Kang Youwei,"Tablet-Calligraphy","Tie- Calligraphy"with the thinking of respecting tablets by Kang Youwei,"Shape-Learning"with bronze and stone opuses. It embodies the same era feature from the thinking of the society innovation in late Qing Dynasty and the thinking of < Guang YI Zhou Shuang Ji> written by Kang Youwei. It also discusses the thinking of the society innovation affecting historic viewpoint about the calligraphy, and which leads to some deflections of Tablet-Calligraphy theory in < Guang YI Zhou Shuang Ji>.Thirdly, it is the study of Tablet-Calligraphy theory in Qing Dynasty basing on the stone curving relics from Wei-Jin and South-North Dynasty. This part discusses the cultural quality of the tablet curving from Wei-Jin and South-North Dynasty, famous persons of North Dynasty, the important problems about the calligraphy, the tendency of respecting Wei Dynasty, defying Tang Dynasty and the Tablet-Calligraphy of reflecting tradition, the art view of tablet and technology of curving opus, etc. It deeply studies the benefit and loss of the Tablet-Calligraphy theory of Qing Dynasty, using the method of the calligraphy study. Furthermore, for deep studying the benefit and loss of < Guang YI Zhou Shuang Ji> and the Tablet-Calligraphy theory of Qing Dynasty, it expounds"normal writing"and"unmoral writing","primitive habitus"of the stone curving, stationary analysis, mobile recuperation and the handwriting of tablet curving opus. Under the premise of"basing on persons"that is the art and humanity tradition of the calligraphy, it discusses the method of studying the tablet curving. If there are unsuitable viewpoints and discussion, I sincerely hope that specialists can criticize and modify them.