Study On Calligraphic Notions From Epigraphic Rubbings In The Northern Area Of China In Qing Dynasty

This paper aims to analyzing origin and development of calligraphic notions from epigraphic rubbings in the northern area of China. With the research on calligraphic images and documents in Qing dynasty, the author try to probe on calligraphic notions from epigraphic rubbings in northern China above three hundred years during Qing dynasty, in order to find out changes about its connotation and denotation, as well its cultural background and historic significance.In this paper, calligraphic notions from epigraphic rubbings in northern China originated from the outcome of calligraphy’s inter contradictions and external cultural ecological changes, it has not only come into the strictly logical theory construction with a complete system, but also normalized the other paleography forms which were separated from old masters named of Wang Xizhi and Wang Xianzhi. However, as the most popular cultural thoughts and literary ideas in Qing dynasty, it had an impact on the development of calligraphy in many aspects during the whole Qing dynasty, especially after the times of Qian‐Jia emperors and brought a big challenge to aesthetic habits and learning patterns of the traditional calligraphic study from one period to another.There are three points concluded. First of all, Calligraphic notion from epigraphic rubbings in the northern area of China is outcome of calligraphers’ inter contradictions and external cultural ecological changes. The value of epigraphic rubbings in northern China has been discovered and spread on the base of accepting the calligraphic value of Seal or Official script tablet inscriptions in Qin and Han Dynasties with the changes about policy, culture and academy in the middle of the 17 th century, value discovery and wild popularity of ancient inscription due to epigraphy, as well the influence of calligraphic aesthetic development and difficulties that the major paleography went through. Secondly, Calligraphic notion from epigraphic rubbings in the northern area of China is not so much a type of theoretical model as a reflection cultural thought in the development of paleography. Notions of earning calligraphy from epigraphic rubbings in the northern area of China has never been formed into a comparable as the traditional calligraphic system named with Wang Xizhi and Wang Xianzhi, even with the contribution from scholars and experts in respective area of expertise like Ruan Yuan, Deng Shi, Bao Shicheg and Kang Youwei, but it was regarded as the most popular calligraphic trend. Thirdly, Calligraphic notion from epigraphic rubbings in northern China is theoretically based on different calligraphic views between South and North in China with notions of favorite on tablet inscriptions in Tang Dynasty as its main expression and the sense from Seal and Official script inscriptions as its core content which leads to the special aesthetic trend with a unique calligraphic model. Meanwhile, the paleography, especially the modern script after clerical script was divided into different types according to the geographic concept and aesthetics styles from the points of calligraphic views between South and North in China and separate by two forms called rubbings from stone tablets and famous specimens of calligraphy.