The Research Of “spirit Of Epigraphy” In The Early Shanghai School Art(1840—1930)

“Spirit of Epigraphy” in the early Shanghai School Art has a unique position in modern and contemporary Chinese art, which epitomizes some of the basic features of Chinese art which nurtured in the modern cultural context. These features are mainly reflect in three aspects: First,the redemption and expansion of tradition in the linear framework of its own; the second is gradually integrating into urban public culture and the formation of “innovation”; the third is highlighting the growing recognition to modernity in the cultural context of the Western Learning and cultural integration. Thus, the early Shanghai School Art which take the “Spirit of Epigraphy”as an important component, shows a significant transformation in the cultural landscape of traditional Chinese art, reflects the shift from tradition to modernity.The first chapter discusses the special background in which “Spirit of Epigraphy” in the early Shanghai School Art occurred. The generation of “Spirit of Epigraphy” in early Shanghai School Art not only embodies the national identity and vitality of spirit of traditional Chinese art and aesthetic culture, but also shows all kinds of the face in the process while Chinese art changed to the modernity in the specific historical and cultural context of Shanghai, and also exhibits the internal logic of this transformation process in the multi-dimension intertwined with the tradition and modernity, the elegance and secular nature, the West and China. By exploring the social and aesthetic cultural context in which it occurred, the paper reveals the Shanghai “temperament” of“Spirit of Epigraphy” in the early Shanghai School Art. Such perspective dimension embodied throughout this study.The second chapter discusses the art aesthetic image of “Spirit of Epigraphy” in the early Shanghai School Art. As an aesthetic form and artistic language, its meaning not only becomes from the materialized creation or spiritual sublimation of “Spirit of Epigraphy”, but also conveys the sentiment of the subjective life to the beauty of the Epigraphy in process of concrete, vivid aesthetic experience and the imagery construction. By exploring the process of creation from images of the entity to images of the form, the practice through the unity of calligraphy, painting and printing, the artistic conception produced in the spirit of the times and artistic tradition and theinterest and charm produced in the aesthetic cultural context of Shanghai, the paper not only reveals the aesthetic activities that occurred under the specific situations and the constructing process of aesthetic images, but also complements the existing research.The third chapter discusses aesthetic characteristics and values of the “Spirit of Epigraphy” in early Shanghai School Art. The freehand spirit of the “Spirit of Epigraphy” in early Shanghai School Art not only shows inheritance to the concepts and methods of Chinese freehand tradition,but also shows more reflection to the constructed way of image in Chinese literati art. It was much closer to reality and everyday life on aesthetic qualities, payed more attention to the emotional,rustic expression of aesthetic experience. Its aesthetic effect of “firmness and flexibility” not only fitted the aesthetic orientation of maritime community, but also contained the pursuit to spirit of Chinese art, reflected the combination of secular nature and modernity. The “modernity” in the local position is embodied both in the public interest and the aesthetic modernity of “Spirit of Epigraphy”, which can be regarded as the innovation of this article.The fourth chapter discusses the artistic personality and individuality of the “Spirit of Epigraphy” in early Shanghai School Art. By exploring the creative groups’ sticking to the traditional artistic personality, exploration of the body of art, the reflection of reality and beyonding reality, this chapter fully explains the traits of their personality. On this basis, through the further integration of the concrete practice of the artists, this chapter explores the artistic personality embodied in “Spirit of Epigraphy” from the highlighting of personality charm and the pursuit of spiritual freedom, the portrayal of individual life and the reflection on status quo of art.The conclusion discusses the contemporary significance of the “Spirit of Epigraphy” in early Shanghai School Art. Refer to the practice of creation and spirit of personality of the “Spirit of Epigraphy” in early Shanghai School Art, this chapter reflects the status quo of painting,calligraphy and other Chinese contemporary art.