The Calligraphy Copy Of Dong Oichang’s View

Characterized by diversity and multi-direction with coherence and inclusiveness, Chinese culture is endowed with mysterious force by combing Confucianism and Buddhism. As one of outstanding talents in history of Chinese art, Dong Qichang not only took Golden Mean of Confucianism as the basis and Zen Buddhism as disposition but also pursued tranquility inward to display an elegant spirit model. He enlightened people to know the ancient classics and spirit, which coincided with the blind vein of Chinese art. The best way for the calligraphists is to copy so masters of past ages were used to copying throughout their life so as to inherit and develop the tradition. Wang Xizhi and Wang Xianzhi are the most excellent ones in the history of Chinese calligraphy, whose system Dong Qichang epitomized and the he firstly put forward Imagery Copying resulting in great influence. He dedicated himself to pursuing Two-Wangs and copied calligraphists ranging from Mi Di to Zhong Yao; and therefore he could copy all of them who pursued the calligraphy of Two-Wangs. However, there was no trace of calligraphists he copied from with only Dong’s calligraphy between lines. His standard script derived from Yan Zhenqing’s Stele of the "Abundant Treasure" Pagoda, running script from Li Yongzhi, writing style from Huai Su and cultivation from official slave posts. He used the "taking rhyme from empty and harmonious, and taking force from sturdy and sharp" to express the consistency between handwriting and structure; and used the "freedom and catching" to express intelligence between handwriting and structure. The paper begins from meeting the person and observing the masterpieces to comb his life experience, which puts his copying concept in Chinese culture to analyze the breeding, development and proposal of copying concept. From repeatedly confirming his practice to theory, the paper seeks the basis of copying the ancient and keeping his own style and discusses his aesthetic connotation and cultural psychology in detail. Considering the current calligraphic study and creation, the consciousness of internal expansion and comprehension of all phenomena in his copying concept is undoubtedly an important reference and the core of his calligraphic theory and practice. Fu Shan, Wang Duo, Bada Shanren were all influenced by copying concept, especially Bada Shanren who gave full play to it. It is urgent and significant to study Dong Qichang’s copying concept in combination of the theory and practice. It is a process from the form to spirit to the unity of form and spirit; copying to creation is also a process. The relationship between them is not opposite but interdependent with more internal relation with the aim to activating the classics as well as inheriting and developing the tradition in a more reasonable way.