A Research On The Aesthetic Conceptions In The Calligraphy Theories In The Late Qing Dynasty

This paper studies the aesthetic conceptions in the calligraphy theories in the late Qing dynasty,including five specific issues.First,calligraphy ontology.There are three kinds of calligraphy ontology in the history of Chinese calligraphy: the theory of“imitating nature”,the theory of “calligraphy as a painting of the heart-and-mind”,and the conception of the form and spirit of calligraphy.Calligraphers in the late Qing dynasty developed calligraphy ontology mainly in two aspects.One was the development of the conception of the form and spirit of calligraphy,for example,Zhou Xinglian pointed out that calligraphy was the “division” and “demarcation” of space,Liu Xizai equated the conception of the form and spirit with the theory of meaining-image,Kang Youwei highlighted the importance of “form”.The other was the summary of the deformation of the conception of the form and spirit of calligraphy.Liu Xizai transformed “spirit and form” and “meaning and image” into “meaning and rules”.Second,artistic dialectics.In the stele study,the relationship between stele and Tie includes the combination of the two,and valuing stele and devaluing Tie;Qiman(the deepness of a work's spirit)is based on Zhongshi of stokes(the middle section of a stroke is firm);Tibian is development and Fenbian is inheritance,these two constituting two aspects of the evolutionary process of calligraphy.Zeng Guofan,a scholar of Tie theory,believed that “the skills applied to the heart-and-mind” was the function of calligraphy and “not controlled by things” was the noumenon of calligraphy.And he realized that the tendency and rhythm of calligraphy depended on each other according to the concepts of “tendency” and “rhythm” in Master Sun's Art of War.Liu Xizai sorted out the dialectics of calligraphy in detail: the dialectics in the noumenon,the form,the learning and the creation of calligraphy.Third,general aesthetic tendencies.They are the advocation of steles,the advocation of “ancient”,and the compatibility of steles and Ties.In form,to advocate steles is to advocate the tablets of Wei dynasty and of Han dynasty,and by the way other tablets;in essence,it is to advocate the ancient rules of seal character,official script,and tablet of Wei dynasty on the steles.“Ancient” has three meanings: ancient times,ancient rules and style.“Ancient” as styles can be divided into the ancient-elegant and the ancient-clumsy,or the ancient-elegant and the strong-ancient.The advocation of “ancient” is not conservatism,but the premise of innovation.Thecompatibility of steles and Ties embraces the balance between steles and Ties,and the combination of steles and Ties.Fourth,specific aesthetic tendencies.Kang Youwei praised Kungfu and strong,ancient-clumsy,dense,bizarre styles.Based on these standards,the result is six levels of calligraphy.His theory of six levels of calligraphy was not beyond the traditional theory of three levels of calligraphy.Guo Shangxian in the shape praised highly proficiency,changeableness and naturalness,but he more emphasized the spirit of calligraphy works.Liu Xizai praised highly “calm”,“clear and thick” and “deep”except naturalness and so on.Fifth,the principles of calligraphy aesthetics.The first is the nature of calligraphy.In the late Qing dynasty,there were three calligraphy ontology,namely,the theory of representation,of expression and the conception of the form and spirit.Now the theory of formal ontology comes.This paper holds that calligraphy is the unity of Chinese characters shaped by brush and the spiritual cultivation of calligraphers.The second is calligraphy style.Calligraphy styles can be divided into individual styles and group styles.Individual styles include the styles of strokes,structures,art of composition and works' spirit.The group styles include the styles of chirography style,regional styles and times styles.The third is calligraphy creation.The conditions of calligraphy creation include the mastery of the rules of calligraphy,the gestation of aesthetic attitude and the cultivation of a calligrapher's mind.There are two types of calligraphy creation: first,the intentional and purposeful activity of rational conception and communication;second,that the writer does not plan to write well before he writes and writing is just entertainment for him.The fourth is calligraphy appreciation.The objects of calligraphy appreciation include a work's spirit and form.The criteria of calligraphy taste include specific indicators(such as bone strength)and overall indicators(such as naturalness).Calligraphy taste is a comprehensive evaluation of works through multiple specific indicators and multiple overall indicators.