A Study On The Cursive Script In The Late Ming Dynasty

The following research paper explored the development of a specific calligraphy style in a specific historical period,that is,taking"late Ming Dynasty" as the time limit and "cursive script" as the research object.The late Ming Dynasty was an important transition period for social development and aesthetic ideology.Cursive calligraphy was also a calligraphy style with powerful individuality and expressive force.The combination of the two,both the physical style and the aesthetic ideology,formed many characteristic art phenomena.Based on the perspectives of the development of the physical style,aesthetic ideology,and theoretical criticisms from historical documentation,graphical records,and the research results of previous scholars,this article investigated the expression forms and the changes in details of the late Ming calligraphy style as well as explained the principles on which it evolved and changed,by examining the relationship between the signs of societal changes during the late Ming dynasty and the characteristics of the development of the cursive style.In addition,the article sought to deepen the recognition of the development characteristics of the late Ming cursive style and reveal the morphology,changes,and essential thoughts that affected this period of cursive style development.The article is divided into two sections.The first section mainly studied the background of the late Ming cursive style and its various forms.The content is as follows:The introduction sought to summarize the academic research of the late Ming cursive writing.At the same time,the relevant concepts,scope,and methods were briefly explained.The first chapter discussed the background and the basic form of the inheritance and development of cursive script in the late Ming Dynasty from the perspectives of social ecology,calligraphy ecology,and the inherited ideology and methods of inheritance.The second chapter mainly discussed the questions related to the exploration of orthodox and the extension of individuality in the late Ming cursive style.By comparing to the changes of calligraphy styles in previous dynasties,we examined late Ming calligraphers’ absorption of the previous lineages and explored its subtle composition of the concept of "orthodox calligraphy",as well as the different calligraphy ideologies among the calligraphers.At the same time,we sought to elucidate the conditions of practice,types,and characteristics of the writing style and analyze the advantages and disadvantages of"personalized line change".The third chapter focused on the development and creation of the dimensions on the uses of ink.Based on the application and theory of the previous dynasties’ uses of ink,chapter three summarized the principles and rules of the changes and explained the characteristics of the breakthrough and the summary of ink uses from the late Ming Dynasty to the Qing Dynasty.Using this,we investigated the cause of the ink usage "generalization" and explored the dimensions and characteristics of the "creative transformation of the ink usage" in the late Ming cursive script.The fourth chapter mainly discussed the selection of the cursive characters in the late Ming cursive style and the re-cursive of characters.In the process of investigating the connotations of the development of the cursive characters and the development of late Ming cursive characters,the transformation of symbolic cursive method and physical form method was explored in detail,and some principles of changes and characteristics were summarized.The fifth chapter focused on the curious transformation and spatial characteristics of the cursive style.By summarizing the changes of character spatial arrangement from Jin and Tang to late Ming Dynasties,this chapter discussed the transformation of the character spatial arrangement and characteristics of its particularity from the perspectives of single character,character group,long character group,and longitudinal character row shapes.The sixth chapter mainly discussed the improvement in the expression of the art of composition and momentum as well as the expansion of the aesthetic paradigm.We attempted to set the frame of reference and measure reference parameters by searching the spacing between characters.In addition,we attempted to explain the interconnectivity of art of composition through the "intermodal diagonal line" and the "intermodal rhythmic line".Data based conclusions were used to assist in the discussion.Furthermore,the geographical differences of the cursive script and their relationship with their expressiveness,as well as the calligraphy style and body style were explored.The seventh chapter started from the synchronous relationship between literary and artistic ideologies and calligraphy theory and combined the changes and characteristics of calligraphy theory in the early,middle,and late Ming Dynasty to discuss the theories related to the late Ming cursive style.On basis of which,we reposition the historical status of the late Ming Dynasty cursive calligraphy style.The second part supplemented the main article and was compiled into the Collection of Cursive Characters in the late Ming Dynasty.It collected 420 works of Dong Qichang,Xing Dong,Zhang ruitu,Huang Daozhou,Ni Yuanlu,Wang Duo,and Fu Shan,which have a total of more than 4100 single characters and 32220 cursive characters.