Research Of The Calligraphy Of MountTai Diamond Sutra

This paper takes Mount Tai Diamond Sutra as a case study and discusses two issues.One is the analysis of the calligraphy style of Mount Taishan Diamond Sutra.On the other hand,it focuses on the acceptance and dissemination of Mount Tai Diamond Sutra in the history of calligraphy from the Ming Dynasty to the Republic of China,analyzes the concept of calligraphy and the practice of calligraphy in the six dynasties（六朝）from the Qing Dynasty to the Republic of China,and combs out the important influence of Mount Tai Diamond Sutra in the development of stele from（碑学）the Qing Dynasty to the Republic of China,so as to have a clearer understanding of the development track of stele from in the Qing Dynasty.This paper firstly reviews the research history of Shandong Carving Sutra,and deduces the possibility that the calligraphy style of the scribe script in Shandong Carving Sutra may originate from the monks of the Southern Dynasty who went north.Secondly,according to several field visits to Mount Tai "Diamond Sutra",the field situation and performance of Mount Tai "Diamond Sutra" calligraphy of various visual materials were described and discussed in detail.Then through the method of image induction and analysis,this paper makes a detailed analysis of the "characteristic characters" and "characteristic structure" of Mount Tai Diamond Sutra.The Diamond Sutra of Mount Tai is contrastively analyzed with the carvings of Mount Hongding（洪顶山）.The similarities and differences between Mount Tai Diamond Sutra and Mount Hongding Monk Andaoyi（僧安道一）Sutra are listed in detail.The person who put forward Mount Tai Diamond Sutra is probably a colleague or student of Andaoyi’s team,but not himself.The article also analyzes the history of the acceptance and dissemination of the calligraphy of Diamond Sutra from Ming and Qing Dynasties to the Republic of China.This part first points out why the Diamond Sutra of Mount Tai was not seen in history before the Ming Dynasty.The Ming Dynasty literati began to re-excavate Mount Tai Jingshiyu（经石峪）,this paper points out some misunderstandings of Ming Dynasty literati on the calligraphy style and the people of the "Diamond Sutra",summarizes the understanding of the people on the calligraphy style of Mount Tai Diamond Sutra,and points out the limitations of their understanding.In the atmosphere of the Qing Dynasty,Mount Tai Diamond Sutra was first regarded as a treasure by Bao Shichen（包世臣）,a calligrapher of the monument school,who praised it as a "cloud crane and seagull（云鹤海鸥）".This paper points out that this is the first high tide in the history of the acceptance and dissemination of Mount Tai Diamond Sutra.Under the preaching of kang youwei（康有为）,Mount Tai diamond sutra is regarded as "zong" of BangShu（榜书之宗）,based on the theory and the Kang’s book calligraphy image inductive analysis,points out that Kang about Mount Tai Diamond Sutra very self consistent theory and practice,due to the huge influence,Kang and physically to promote Tarzan "diamond sutra",the "diamond sutra" become the undisputed classic in the history of Chinese calligraphy,this is mount tai "diamond sutra" accept the second high tide of history.This paper also discusses that after the Republic of China,Li Ruiqing（李瑞清）and Zeng Xi（曾熙）headed the school of jinshi（金石）calligraphy.On the one hand,while drawing from He Shaoji’s（何绍基）writing style,they advocated writing the north tablet with big seal script style,which indeed created the most extensive method of writing the Diamond Sutra on Mount Tai since the Republic of China.On the other hand,li and Zeng’s publication in Zhenya bookstore（震亚书局）also solved the problem that tai’s diamond sutra was too large to be played.Mount Tai Diamond Sutra from the altra into the homes of ordinary people.This paper discusses Li Zeng’s theoretical advocation,exploration of writing technique and achievements in publication,which made Mount Tai Diamond Sutra move from the altar shaped by Kang’s family to the world.The paper points out that this is the third climax in the acceptance history of Mount Tai Diamond Sutra.The rest of the thesis mainly focuses on the thinking and discussion of "writing classics style" and "the list book" when studying these two parts.The main innovation points of this paper are as follows:1.This paper discusses that the monk Andaoyi is not the scribe of Mount Tai Diamond Sutra,but the scribe is his colleagues or students in his team.2.The Mount Tai Diamond Sutra was promoted by scholars,scholars and calligraphers,and finally became a new classic in the calligraphy system in the late Qing Dynasty and the Republic of China.By discussing the process of receiving and spreading the Mount Tai Diamond Sutra,we can understand the concept of calligraphy in the six dynasties in the late Qing Dynasty and the Republic of China,and the practice of calligraphy in the seal script.This is of great significance in the history of bibliography.