The New Theory Of The Late Ming Calligraphy Art Concepts

In the research of Chinese calligraphy division history, the latter Ming dynasty should be a very special and attractive topic, the academics have not formed unification viewpoint at present regarding the value and the significance for this period of history. Therefore, this is a blank spot in the calligraphy history on the treatise research. The latter Ming dynasty is also a big transformation time, the study of this period must relate to the literary and artistic and aesthetic ideological trend at that time, which enabled the latter Ming dynasty calligraphy research to have a certain aesthetic value. It might rise to the theory stratification finally in the research process through the history research. Therefore, the author chooses the latter Ming dynasty calligraphy art ideological trend as the object of study.This article defines the latter Ming dynasty and latter Ming dynasty calligraphy, and then elaborates about the development of the classicism and the romanticism calligraphy art ideological trend in the latter Ming dynasty, laborites the reason of the latter Ming dynasty romanticism, the development and the occurrence in the Qing dynasty and the contemporary significance, which has set up the historical value of latter Ming dynasty romanticism wind in a certain significance superscript. The so-called new text in this article is the opposition and integration refers to the article to the latter Ming dynasty two calligraphy art ideological trends, which have not in yet been referred to at present. On the opposition, the article elaborated the differences about the classicism and the romanticism, classicism demonstrated to romanticism with silence, and the romanticism declared to the classicism directly. It comes to the conclusion finally that romanticism breakthrough and beyond the classicism . The key point of this article is the integration of two trends, which is also the academic value of this article. On the integration, the reason discussed by the article for these two different calligraphy thoughts is the independent artistic thinking, expansion of the latter Ming dynasty aesthetic scope and the personalized orientation of aesthetic value. Regarding the integration of two calligraphy thoughts, the author believes that the reason is classicism romanticized consciously and constraint classically of the romanticism with the traditional complex, Two thoughts go to deep integration finally by mutually containing and infiltration. The article mentions two points in the latter Ming dynasty calligraphy's research, enabling the article to have a higher theoretical standpoint. The first point is how to make a more profound analysis and definition about the confrontation of the two calligraphy thoughts of the latter Ming dynasty. The second point is how classicism and romanticism calligraphy ideological trend to fuse perfectly together to support the latter Ming dynasty calligraphy after natural antagonism. The article carries on elaboration to these two focal point question systemlize, and successfully solves the theoretical problem about the opposition and integration finally. The article gives redefinition of the latter Ming dynasty calligraphy and systematic explanation, analyzes and elaborates the important influence and inspiration of the contemporary calligraphy and art trends by studying latter Ming dynasty calligraphy, hoping to get widespread attention and far-reaching influence.This article innovation spots are:1. Comb the vein of the latter Ming dynasty calligraphy comprehensively and elaborate the development of classicism and romanticism calligraphy history.2. Discuss the opposition and the integration between latter Ming dynasty traditional classicism and the emerging romanticism, with a focus on the issue of integration, seeking for the new esthetic standpoint for the domination of latter Ming dynasty calligraphy.3. Learns from history to show the initial practical significance research about contemporary calligraphy through studying the history of calligraphy.