A Study Of Chinese Mongolian Calligraphy From The Perspective Of Cultural Ecology

As a kind of national art form,Chinese Mongolian calligraphy embodies Mongolian's special writing aesthetic practice for documents.In the historical context of fully drawing on,absorbing and integrating Chinese calligraphy,it also demonstrates the unique spiritual temperament and cultural character of Mongolian and Han nationality in the artistic integration.Chinese Mongolian calligraphy not only reflects the condensation of form of Mongolian nationality on the diachronic line in the cultural ecology,but also vividly reflects the concept value and regional thinking of the composition of calligraphy noumenon and aesthetic pursuit in the synchronic space of Mongolian nationality.At present,the research on Mongolian calligraphy in China mainly focuses on the aspects of history tracing,calligrapher evaluation,curriculum education and so on,reflecting fragmentation and limitation description.Therefore,from the perspective of cultural ecology,it not only has the integrity and academic rationality that have not been involved by predecessors,but also connects the preceding and the following to enhance and enrich the historical and modern connotation of Mongolian calligraphy.To put Chinese Mongolian calligraphy in the perspective of cultural ecology,first of all,the ecological factors that affect the initial generation of Chinese Mongolian calligraphy should be paid attention to.Through the analysis of the natural ecological environment(natural environment,geographical environment,production mode,etc.)and the human ecological environment(ethnic integration,cultural integration,etc.),the understanding of the local characteristics of it which is different from other cultural categories can be confirmed.Then,based on formation and the clue of time venation,it presents its developmental and evolutional history from Yuan Dynasty,Ming and Qing Dynasty,Republic of China to the founding of the people's Republic of China.Secondly,it focuses on the ontological existence of Chinese Mongolian calligraphy.Through the analysis of character modeling features,combined with writing tools,writing content,calligraphy composition,etc.,thus to explore the existence of its calligraphy and to explore its unique aesthetic character.Calligraphy is not only the art of writing,but also the cultural card.The deeper question is to understand why Mongolian calligraphy in China is so generated and developed,and why it has such a unique aesthetic character from the perspective of cultural ecology,so as to explore its social and cultural heritage.Finally,it focuses on Chinese Mongolian calligraphy from the perspective of modernity.Combined with the first-hand field survey and interviews with people,the present situation of Mongolian calligraphy is intensively displayed from the academic,folk and urban symbol resources.In the face of the changes of cultural and ecological elements,the practical difficulties and problems are sorted out,and a new development path is sought between the traditional and modern,between the difficulties and challenges.This paper focuses on the following six parts of Chinese Mongolian calligraphy from the perspective of cultural ecology:Chapter one explores the origin of Chinese Mongolian calligraphy.This chapter focuses on investigating the relationship between Chinese Mongolian calligraphy and the outer elements of cultural ecology.There are unique nomadic ways in the natural living environment,which breed the Mongolian People's character and aesthetic way,and inject them into the formation of context.The establishment of country,the emergence of characters and the maturity of Chinese calligraphy have completed the initial localization confirmation.But at the beginning of its origin,many elements of cultural ecology,such as material state,system,behavior and spirit,have been gestated.In the course of future history,it will influence its development from germination to maturity and from simplicity to richnessChapter two studies the historical evolution of Mongolian calligraphy in China.Starting from the time line,this chapter combs the evolution characteristics in different historical stages of Mongolian calligraphy,and summarizes them into the original ecological period,i.e.the germination and exploration of Mongolian Khanate and Yuan Dynasty;the norms and development of the post ecological period,i.e.Ming,Qing and national period;the new ecological period,i.e.the development and prosperity of the People's Republic of China.Chapter three is about the noumenon of Chinese Mongolian calligraphy.This chapter focuses on the relationship between Chinese Mongolian calligraphy and the intermediate elements of Cultural Ecology(language,characters,graphics,etc.).In the creation of modern calligraphy,Mongolian calligraphy is selective in the use of characters.Compared with Chinese calligraphy,the use of four treasures in the study has both integration and improvement of national elements.On the one hand,it inherits the spirit of Chinese calligraphy,on the other hand,it reflects the exploration of independent artistic spirit by combining the Mongolian character modeling characteristics.Chapter four illustrates the aesthetic connotation of Chinese Mongolian calligraphy.In the historical growth of Chinese Mongolian calligraphy,various cultural elements interact with each other.For an art form,Chinese Mongolian calligraphy is the condensation and generation of many elements such as characters,aesthetics,tools and emotions.Specifically,it can be summed up as natural,pluralistic,retro,broad and round aesthetic characteristics.Chapter five traces the culture of Mongolian calligraphy in China.This chapter probes into the historical formation,noumenon formation and aesthetic expression of the above Mongolian calligraphy.This kind of condensation,in the final analysis,lies in the creation and development of his "people",which is also the condensation of the inner core layer "human heart" in the cultural ecology.Behind it,there is the specific expression of Cultural Acculturation of Mongolian calligraphy and Chinese calligraphy in beauty and sharing,beauty of each,seeking common ground while reserving differences.At the same time,in the Mongolian art and culture ecology,Mongolian calligraphy enriches the unique regional grassland culture ecology on the one hand,and on the other hand draws nutrients from other ecological art types.The last chapter analyzes Chinese Mongolian calligraphy from the perspective of modernity.As far as cultural ecology is concerned,culture not only endows reality with meaning,but also needs to carry reality.Reality is also a dynamic existence.As a variable of Chinese Mongolian calligraphy in time,this chapter is the solidification of its space,the static and thinking in a specific time node.Based on the rich field investigation data,this paper focuses on the distribution of Mongolian calligraphy resources in China.Through the analysis of its current situation of existence,this paper puts forward the way of combining history with modernity,reflecting the originality with regionality and the innovation with nationality.