Shu Xue Zheng Xin-A Study On Xiang Mu's Shu Fa Ya Yan Under The Ideology Trend In The Late Ming Dynasty

Xiang Mu's Shu Fa Ya Yan is a special book on calligraphy in the history of Chinese calligraphy studies.For the first time,he introduced the concept of "Shu Tong",and particularly laid extensive efforts on the theoretical construction of the metaphysical concept of "Shu Tong".It had a great influence on the history of Chinese calligraphy studies in the Ming and Qing Dynasties,especially after the middle period of the Ming Dynasty.But why did such a calligraphy theory with a complete and consistent system appeared late Ming Dynasty? What is the specific interaction between his thoughts of Calligraphy theory and the ideological trend in the late Ming Dynasty? The Xiang family has a rich collection of arts.Considering Xiang Mu is the eldest son of Xiang Yuan bian,what are the potential relationships between Xiang Mu's Calligraphy theory,Xiang family's collection interests,and calligraphy studies?While previous studies mainly focus on the histories of calligraphy,aesthetics,and style,this research attempts to resolve the issues of mixed negative and positive comments as well as superficially inaccurate identificationwith help of interdisciplinary studies on intellectual history.Using the method of philology,this study found two important editions of Shu Fa Ya Yan and one of Xiang Mu's handwritings and also identified the change of Xiang Mu's thoughts between the "first edition" and "second edition" through collation.Secondly,using the research method of the history of thought based on the research of keywords,this paper gives a new exploration to the thoughts of Xiang Mu.Through the exploration of 4 keywords with top frequencies,including “Shu”(114 times),“Xue”(79 times),“Zheng”(74 times),“Xin”(71 times),the authors determined the main ideologies,motivations,and positions of calligraphy studies which represent Shu Fa Ya Yan.Xiang family's concept of collection and calligraphy is the solid foundation of Xiang Mu's Shu Fa Ya Yan,which represents the main concept of calligraphy,reflects the mainstream of calligraphy in the late Ming Dynasty,and also embodies the influence of temporal ideology in the late Ming Dynasty on calligraphy concept.It should be noted that the calligraphy studies of Xiang Mu not only reflect,but also integrate Confucianism,Buddhism,and Taoism.Also,it was built upon the first stage of Neo-Confucianism of Lu-Wang,instead of Neo-Confucianism of Cheng-Zhu.With positions of “practice to conscience” from the rightists of Wang school,it criticizes the positions of “intuition to conscience” from leftists of Wang school.Back to calligraphy studies,Xiang Mu despised the ancient characters and "Stelology" in Cheng Zhu's Neo-Confucianism style of calligraphy,attacked and criticized Wang's simple and vulgar style of calligraphy.Xiang Mu advocated the practical function of calligraphy and the study of ancient inscriptions.In his period,the tendency of "learning the inscriptions" was rising again,and "the study of the inscriptions" became the product of the ideological trend of calligraphy in the late Ming Dynasty,which also embodies the influence on calligraphy perception of the ideology trend in late Ming Dynasty.