"Revolution" And Calligraphy

Through the tracing of the reform of the texts in the late Qing Dynasty and the early Republic of China,we can see that,first of all,the civilian intellectuals used the old text as a practical treatment.Their treatment of the old text did not completely negate the value orientation of the rebellion,but only included The modern nature of text understanding.This issue,in the period of the New Culture Movement,became a problem of "revolution" and "revolutionary" due to the clamor of a group of new intellectual elites such as Qian Xuantong,Fu Sinian,and Lu Xun.Qian et al believe that the old characters are not only hard to write and difficult to understand,but also that they are the same as the "Jing" as the structure and structure of "feudalism and backwardness," and thus form "anti-feudalism." From the point of view of the revolutionary nature,the "old calligraphy" and the "old calligraphy" identical to the "old calligraphy" were defeated.Words are the foundation of Chinese calligraphy's inheritance.They include the Chinese culture's cosmology and values,and the ways to realize values."The skin is not there,the hair will be attached." The second round of impact on traditional calligraphy comes from “new writing”—a writing paradigm that embodies the characteristics of the times and modernity with tools,industrialization,and standardization such as printing and pens.Similar to the “word reform”,when this new writing paradigm and the “revolution” happen in an isomorphous relationship,and there is a systematic structure of new words and new knowledge,it not only contributes to the new and old substitution and rejection of writing and writing.Relationships also promote hostility and exclusion relations at the conceptual and value levels.This is the reason why the “calligraphy” with the same structure as the old characters and the old value was placed on the “art” value after being further impacted by the art characters.This background is extremely important for understanding the "transformation" of the "calligraphy" of the Republic of China.Previous studies have explored this aspect,but they have not discovered the“value exclusion” promoted by this “isomorphism” relationship,thus treating text reform and printing as “influencing factors” or “extrinsic conditions”.Understanding the interactive relationship between calligraphy links and ideas is not clear enough.Along this vein,we will find out the motivation and origin of the Right Curricular Standard Curricula—the modernity of the reform of writing and the deep feelings of nationalism,and even the personal feelings of right-handed calligraphy.However,although nationalism revisited the direction of social moral values during the period of the Republic of China,it cannot shake the new cosmological outlook and modern values that were achieved through the “Virtue” and“race” and followed the New Culture Movement.The latter is more intense in the era.The desire and appeal have already basically completed its status in the structure of social concepts.In this case,we find the tangled and entangled emotions of the "two-dimensional four-dimensional"(traditional and modern,Eastern and Western)presented in the cursive movement and the new calligraphy revolution.There is no exception for Yu Renyou.His "Culture of Marks" is just a reflection.However,the general study of this issue is still limited to "calligraphy" itself-even if there are text reform and nationalist factors introduced,the value relationship of the concept structure is not effectively implemented in the "standard grass" analysis.What's most interesting is that if we look at the pulse from the grass to the grass,we find that the contribution made by the Rightist in terms of the era and the publicity of the “grassword” eventually becomes the weight of the “St.Thousand”.The private nature of the individual brought to him is completed.From this,we seem to findthat the creation of calligraphy in any era can not be separated from the erosion of the value of the times and the realization of individual life,nor can we escape from the moral and personal nature of public nature.From this point of view,we have moved from the crisis of calligraphy to the innovation or creation of calligraphy.This outcome seems to be unexpected and reasonable.