Ouyang Xunshu's Historical Image Construction Theory

Ouyang Xun's calligraphy image is the overall image of the art constructed by Ouyang Xun in Chinese calligraphy history.He explains this image through his own calligraphy monograph and shows this image through his calligraphy works handed down from the ancient time to present.As to his calligraphy image,later calligraphy history and calligraphy aesthetics history only introduce certain view-points of some calligraphy historic books and monographs.They only introduce some of its artistic features and achievements.This thesis summarizes and analyses the overall characteristics of the image of the history,causes of formation and level of display through combining his theories and art skills of calligraphy.As an active calligrapher in the Sui and Tang Dynasty,Ouyang Xun took over from the past and set a new course for the future in Chinese calligraphy history.He rooted in his own regional culture,family culture and the culture of learning truth from a master,and based on the development trend of the Chinese calligraphy art from the Northern and Southern Dynasties to the Sui and Tang Dynasties.He inherited the Sui Dynasty calligraphy charm through compatibility of North and South.He made a thorough explanation on aesthetic qualities,rules of calligraphy creation,artistic style and the appreciation standard through calligraphy practice and theoretical studies of his own,and his writing practice embodied the pursuit of aesthetic and compatibility of North and South,which opened the new generation of the Tang Dynasty's emphasizing the rule and advocating the implication and then had a major impact on the creative practice and theoretical research of the Chinese calligraphy.Construction of the image of Ouyang Xun in Chinese calligraphy history was not just reflected in those few articles directly introduced and summarized by later calligraphers,but there was a strict intrinsic logical relation.It had close relationship with the evolution background of the Chinese calligraphy history after the Southern and Northern Dynasties and the great change of the calligraphy style opened from the Sui Dynasty.The unique life experience of Ouyang Xun was also closely related.Ouyang Xun's calligraphy image was reflected in many aspects of his creative practice and theoretical studies.These levels are closely around the core of aesthetics of "emphasizing the rule and advocating the implication",so as to set up his image of history.This thesis studies the construction on Ouyang Xun's calligraphy image.The author not only absorbs the characteristics of emphasis on practice of Chinese ancient philosophy,grasps the background of evolution of culture and calligraphy at the macro level from Southern andNorthern Dynasties to the Sui and Tang Dynasties,analyses Ouyang Xun's life experiences which underwent the three dynasties at the micro level,and longitudinally analyses “why was his image of history constructed” and points out the subjective and objective causes,but also horizontally analyses "what was his calligraphy image" on the basis of the textual research and theoretical basis of the existing books,from following five aspects,such as theory ontology,text theory,construction theory,comparison theory,and style theory,which was closely around the core of compatibility of North and South and emphasizing the rule and advocating the implication when his calligraphy image was shown.The paper then longitudinally discusses "how the historical value of his calligraphy image influence later generations”.The combination of vertical level with horizontal level,and the combination of macro level and micro level will better reveal the uniqueness of aesthetic principle of Ouyang Xun's image in the history of Chinese calligraphy.Compatibility with the north and south,emphasizing the rule and advocating the implication,are not only able to scientifically reveal the tendency of Ouyang Xun's calligraphy culture rooted in eras and his history image based on his personal calligraphy practice and art essence,but also to express the aesthetic taste of “beauty for neutralization and harmony” of the Chinese traditional culture.