On The Aesthetic And Formation Of Expressionistic Calligraphy Style In The Late Ming Dynasty

Over the years, we have held that the political background, the economic and artistic and cultural trends since the middle Ming dynasty, especially the "xinxue"(particular school of mind) and "tongxinshuo"(theory of childlike mind) in late Ming dynasty have a very significant impact on the formation of the expressionistic calligraphy style in the late Ming dynasty, but this is only one aspect. We tend to neglect the effect from the tide of Shangqi ("enjoying strangeness" and "loving differences") in the late Ming dynasty caused by the development of "export-oriented" economic south along the Yangtze River and southeastern coastal areas, the prosperity brought by the business people, especially, "beixue"(the theory of inscription) beyond the traditional style of Wang Xizhi and Wang Xianzhi (Two-Wang).In this paper, the author further discuss that, with the vision of "globalization" market economy in the late Ming dynasty, as a focal point of the development along the southeast coastal "export-oriented" economic and the industrial prosperity, the development of this "export-oriented" economic stimulated the Yangtze River and southeastern coastal areas of high economic growth, as a commodity distribution center in the town for the vigorous development of the society so that people got even closer. With Interpersonal channels and gradually expanding, beyond the relationship depending on blood and geography, people related by many respects such as the economic, political, cultural and so on. As people's living standards improving, people began to envy and long the material life of "enjoying their food, loving their clothing". This extravagantly atmosphere, as well as people seeking play in the festival of freedom and liberation of humanity, all of these showed that the economic prosperity brought ideological liberation. The change in consumer attitudes had a strong impact on people's values and the prosperity and development of business and industry gave people a chance to display and develop themselves. Such ideas reflected in the production of goods or artistic creativity led publicity personality, self-performance. Through the production of books and souvenirs, carved on the popular style of the publication, it showed not only the personality but the aesthetic taste of Shangqi. The creation and spread of the works of popular fiction, shengqiang, opera and so on contributed to the formation of "curiosity" and "shangqi" in society, and helped to encourage the formation of a differentiating itself, cherishing individuality cultural atmosphere. This has resulted in a great delight "shangqi" aesthetic and the aesthetic was rose to the theory in literature, arts even in the ideological field. In fact, "qi" (curiosity) had a great aesthetic power, so people enthusiastically pursued "qi". Therefore, people must not be left behind in the race to create new things to show "qi." "Qi" became the center of attention and debate, became a focus of the vision and formed a social context. In such social context, "shangqi" became a tide. People's curiosity and finding surprising closing to the astounding shocking move by differentiating itself got the enthusiastic encouragement.Meanwhile, under the influence of "shangqi" aesthetic, artists in the late Ming dynasty demonstrated their creativity and individuality and a unique fresh not only at the time of creation and copy. "Qi" became the aesthetic standards in late Ming dynasty, so they had no choice but to shift the aesthetic vision to "beixue" (the study the theory of inscription) and to interpret the meanings of "qi". With the different styles or methods of doing calligraphy works, different taking funding, different aesthetic orientation, different variations, the artists " express their spirituality independently," and "do by oneself", as much as painting and expressing their emotions. By that, the feelings and getting accessed to a meet, and achieve with their own character. The wild style of Xu Wei, the free style of Zhang Rruitu, the thin style of Huang Daozhou, the strange style Ni Yuan Lu, and the great style of Wang Duo, all showed these common aesthetic features such as clumsy, thick, old, heavy, Qiu, big style in their calligraphy works and they highlighted their respective artistic styles. Breaking the limit of the harmony and classical, they created a art with real conflict.Based on the exploration and formation of ideas about inscription in the late Ming dynasty, and the analysis, comparison and serious research on the style of calligraphy and the characteristics of the theory of inscription in the late Ming dynasty, the paper thought that the formation of expressionistic calligraphy style in late Ming dynasty came from the beginning of the theory of inscription. It is the first examples to learn from the calligraphy on the inscriptions ,and also the examples of learning from the calligraphy on the inscriptions and the tradition models (tie) . It should be said that the formation of the calligraphy style of the late Ming dynasty had a very important relationship with the beginning of the theory of inscription. However, the ideas about inscription also came from the aesthetic trends of "enjoying strange" and "loving differences". Therefore, we can come to this conclusion that prosperity of culture depends on economic prosperity, and economic prosperity will promote the idea of liberation, the emancipation led to the artistic creation. This is a fundamental point to study the issue.