Study On The Evaluation Of Sushi's Calligraphy

In the past dynasties, some people appreciate and evaluate Sushi's calligraphy. Although the mainstream is the voice of recognition and high praise, the words of rejection and low opinion still exist. Meanwhile, in the life there are many learners of Sushi's calligraphy through generation to generation. In the appreciation and evaluation of Sushi's calligraphy from his contemporaries to the people in the dynasties of South Song, Yuan, Ming and Qing and the modern time, we can see that Su Shi is a greatest scholar of advocating the calligraphy of "Nature Adoration". His calligraphy reflects the aesthetic orientation and pursuit in the different times as well as the people's concern, love, admiration and understanding of Su Shi and his calligraphy. In the introduction, quotation and description of eight chapters, we will see that Sushi's calligraphy has nearly passed through the time of one thousand years and left much surprise, admiration, doubt and consideration. Generally speaking, Su Shi is a creative calligrapher, who is a great person of calligraphy style of "Nature Adoration" with the great influence and charm although his calligraphy is far from perfect and faultless.This paper is divided into eight chapters. Apart from Chapter one and Chapter eight, other chapters are arranged in the order of historical development.Chapter one briefly introduces the life of Su Shi and his art achievement. Since his art achievement is varied, this chapter merely deals with the part related to his calligraphy.Chapter two is about the survey of calligraphy of North Song dynasty, mainly on the birth and influence of Sushi's calligraphy. North Song dynasty was the time that Su Shi lived in, the time of innovation of calligraphy and the time of forming the calligraphy style of "Nature Adoration" with great admiration and fame.Chapter three summarizes the calligraphy of South Song dynasty, Jin dynasty and Liao dynasty. The idealist philosophy was the first time of "reflections" on the romantic style of calligraphy.Chapter four is about the survey of Yuan dynasty calligraphy, including the trend of the doctrine of "back to the ancients", the return of "calligraphy", the appearance of another great calligrapher, and the neglect of Su Shi and the calligraphy style of "Nature Adoration" in Song dynasty.Chapter five is about the survey of Ming dynasty, including the overall examination of Sushi's calligraphy from Ming dynasty, and the high frequent use of "four schools of Song dynasty" and the discussion of their sequence of order.Chapter six is about survey of Qing dynasty, including the diversity of Qing dynasty calligraphy, the development of the northern stone tablet calligraphy and the southern hardwood calligraphy and the objective and dialectical evaluation of Sushi's calligraphy.Chapter seven is about the evaluation of Sushi's calligraphy from the modern contemporaries. It deals with "calligraphy of scholars" and the implications of Sushi's calligraphy.Chapter eight is the conclusion. It presents the division of evaluation content and curve.