System Of "Image" Theory In Chinese Calligraphy Art

In Chinese notions on heaven and human being, "nature" is the effect and embodiment of "Dao"(nature law in Chinese culture). The understanding of Human culture originating from astronomy and geography and from nature has played fairly profound and lasting influences on Chinese culture. As one branch in human culture, calligraphy is surely, taken as the effect echoing nature. Accordingly, Chinese calligraphy theory progressively takes form of its unique system of "image" theory, which comes of age in flouring Tang Dynasty and is employed in autology etc. in calligraphy. This article attempts to explore and present the ideas, theories and practices of "image" in Chinese calligraphy, and further to unravel their internal associations.In ancient times, there are two systems about origin of Chinese characters: the Book of Changes and Cang Jie's word-formation. The former one primarily presents the Eight Diagrams, which totally imitates the natural objects. Furthermore, the subsequent characters and other man-made substances mainly take their shapes from these divinatory symbols. Accordingly, the later generation maintains that Chinese characters derive from these symbols rather than directly from natural objects. The latter one strongly upholds that the characters are rooted in nature. This idea, so to speak, has been commonly accepted. It is rather vital that the contradiction between them has been mediated by Shuowen Jiezi (origin of Chinese Characters) by Xu Shen(an eminent scholar in Han Dynasty) betimes. It helps to make the "image" theory more clear that the "image" is supposed to be from natural objects instead of the divinatory symbols. Progressively, this view is absorbed and applied by calligraphy theory. From the very end of Song Dynasty to Southern Dynasties, "image" theory, first of all, makes its progress in appreciation and appraisement in art of handwriting. Roughly, it evolves from external form to internal spirit. To be specific, it initially emphasizes the vividness of substantial image in chirographic eulogy. Subsequently, it transits to perception of aesthetic feeling in Ancient and Modern Calligraphy Critical.As a category of aesthetic judgement in calligraphy, "image" is based on several theories as follows. Firstly, the intonation and function of "image" makes it applied to the art possible. Secondly, the ingredients of judgement in the Six Dynasties provide solid foundation. Thirdly, Zhang huanguan's stress on spirit in calligraphy transcends image of natural objects to higher degree of calligraphic "image". Accentuation of "emotion" in calligraphy promotes "image" theory to ultimate consummation. Zhang Xu(An outstanding calligrapher in Tang Dynasty),well employing this theory, innovates an unprecedented approach in calligraphy, which is still inspiring and seminal for present calligraphers.