The Expounding On The Studies Of WangWenzhi's Calligraphy And Thoughts Of Penmanship

The thesis is study about WangWenzhi's calligraphy and thought on penmanship, with which to try to cast light on the development condition of Tiexue. At that times ,Tiexue was being in the zenith of prosperity during Qing Dynasty. At the same time, the inscriptions on ancient bronzes and stone tables and textual criticism were both in vogue. Under that social background, there were some differents between Qing Dynasty and the previous dynasties in Tiexue, which was influenced by the inscriptions on ancient bronzes and stone tables and textual criticism. Therefore, some new technique of calligraphy and the aesthetic standards were appearing and boarding the scope of chocing to the model for calligraphy.The whole paper has five chapters in all. The first section is about Wang's biography. There are three parts. The one is the introduction of his life, surroundings and social background. Wang was exceedingly bright from childhood. In 1760, he was the number three successful candidate in the national civil examinations in imperial China, and became a member of the Imperial Academy. After some years, he acted as the magistrate of Lin`an Yunnan Prefecture. During the campaign of resisting Myanmar's incursion, Wang bungled the military order for his illness, and therefore, he was punished by demotion and returned to his hometown. In his rest life, he never assumed the office of Qing's government, and spent most time to live in his hometown–Dantu. Consequently, he was effected deeply by Dantu's geographical and cultural surroundings and his townsmen.During Ch`en Lung's years, the calligraphy listed into the imperial civil examinations. And every person who participates in the exam must master a perfect calligraphy which specified by the government. So did Wang. He also coped this model of painting. After returning, he lived on the remuneration for a artist. The trade market of art became an effect element on his calligraphy.The other is about Wang's work and achievement. He was a scholar of great learning and proficient in poetry, calligraphy, music and appraise, and thoroughly understand drawing and carving. His representative works were The collection of Menglou's poems, The annotations in Kuiyu Tang, Nashuying collection of tunes of qu, and so on.The other is Wang's social communication. Wang was a representative figure of Tiexue, and make friends with persons who have similar ideas. However, he has a large number of friends who studied on the inscriptions on ancient bronzes and stone tables and textual criticism and collector of cultural relics. They exchanged experiences and effected with each other, although there are some differents between them. From their social intercourse, we will know what conditions in which the Tiexiue, the inscriptions on ancient bronzes and stone tables and textual criticism appeared in the some period of time.Wang was a famous figure in Ch`en Lung's years. Therefore, many his friends are elites of drawing, poetry, etc. And in this group, there were some female poets. They discussed on art and culture with lots of similar ideas and interesting.The second chapter analyses Wang's thought on penmanship. It divides three different parts. The first is the social prevailing custom. For Emperor Ch`en Lung's interesting in ZhaoMengfu's calligraphy, many people copied Zhao's writing. Wang also could not outside from this tidal current. From his handwriting, we will find some characters of Zhao's calligraphy. The second is the influence of DongQichang. Wang had an admiration that bordered on worship for Dong. Wang's calligraphy was learned from Dong's handwriting and take Dong's thought into confidence. That consists the advocating the aesthetic standards of"Dan", the viewpoint of coping ancient calligraphy. Although there were many similar points between them, some different existed ,too. For example, Dong emphasized the learning model must the authentic work of ancient calligraphy. However, Wang's thought that the excellent stones engraved with characters also have their unique virtues. Anther example is about the aesthetic standard of alignment and crude. The former believed the calligraphy only has alignment. But the later also appreciated the crude works. Those differents mirror the development of times and there are some important changes in Tiexue for being effected by the script ions on ancient bronzes and stone tables and textual criticism. The third is the Buddhist calligraphy. Wang believed in Buddhism during his life. Therefore, there are some deeply Buddhist affects on his thoughts and the aesthetic standards. The concrete practices are: A. Smiling and explaining calligraphy with Buddhist doctrine. B. Effecting the aesthetic standards of calligraphy with Buddhist tenets. C. Guiding the produce works of calligraphy with Buddhist doctrine.The third chapter is the thought of calligraphy under the whole aesthetic and cultural idea. The four parts in this section, they respectively analyses the relationships between calligraphy and appraising, poetry, carving, drawing. From this analyze, we can draw a conclusion that Wang's entire aesthetic and cultural thoughts are identical. They both believe in"Yunwei".The fourth chapter is calligraphy and Wang's works. The first part is the experience of learning calligraphy and the different style during different period of his all life. In his young age, he eagered the official positions and learned the writing style is which government ordered. But in his elder age, he loved simple and elegant style. Those two different periods of time, Wang's calligraphy had different features. Anther part is about the effects and the position of history of Wang's calligraphy. We must take attention to his effects on Chinese and Japanese history of calligraphy.The fifth chapter is about the appraising. The first section analyses the methods of appraising the authenticity of ancient things. Wang used the ways are: A."Pinyun"B. the accumulate a wealth of experience in appraising C. understanding the authors and former surveyors. D. learning the strength points of works. Another section is the accomplishments and mistakes in distinguishing the authenticity of ancient paintings.