The Research Of Jiang Kui’s "Xu Shu Pu"

Jiang Kui was a famous author writing ci and poets, noble calligrapher and musician in the South Song Dynasty, who had attained great achievements in the aspects of poets,cis, Chinese calligraphy, music and so on, which had great influences in the history of literatures and arts. After Jiang Kui’s finishing the articles of "Xu Shupu"which was inscribed by Xie caibo in the first year of Ning Zong jiading(1208). Deeply thinking of the disadvantages of learning Chinese calligraphies in Song Dynasty, in the case of non systematic description of the former scholars, Jiang Kui struggle to take over the willing of Sun guoting in Tang Dynasty to write about the books of "Xu Shupu",which was a clear and systematic composition describing with items in on the discussed problems, was also a completely systematic, representative publication elaborating the skills of classic Chinese calligraphies.The related problems of this paper’s researching lies in the background of big cultures,corresponded with Jiang Kui’s special identity of "Jiang Hu Qing Ke" of refined scholars,describing after the grabbing of whole thoughts of literatures and arts.Question One:As a "Jiang Hu Qing Ke"of never being a official all the life, what is the origination of the insights and realization of the core question on Chinese calligraphy? Is the concept of "Ya" in the thought of literature and art of Jiang Kui called "refined scholars between Jin and Song Dynasty"whether in line with the description of "Xu Shupu"?Question Two:what, as Jiang Kui regarded "Feng and Shen" as the most standard of aesthetics in Chinese calligraphy, is the real aesthetic implication? Question Three:how is the concrete manifestation of the influence of Chan Zong to Jiang Kui’s "Xu Shupu"?Question Four: whether there exists in relations between "Shu Pu" and "Xu Shupu" or not? What, if exists, is the relation between them?This paper is divided in five parts:Chapter One is the outlined version of Jiang Kui’s "Xu Shupu". By scanning the circulated and recorded circumstance of Jiang Kui’s "Xu Shupu" and adjusting every version of "Xu Shupu" seen presently in order to systemize the original texts complete and standard as the fundamental materials of the researches of this paper. Chapter Two:researching from the cultural circumstance of Jiang Kui’s placing in, by the analysis in the three aspects of the total calligraphic surroundings of "advocating YI" in Song Dynasty,the prosperity of "Tie Xue" and the "advocating antique" of calligraphic concepts in Southern Song Dynasty and the trends of "Ya" in the cultural surrounding of Southern Song Dynasty, to do up every aspect of the cultural circumstance of Jiang Kui’s placing in.Chapter Three:in order to realize the explanation of calligraphic concepts in Jiang Kui’s "Xu Shupu", by the respectively concrete explanation of the historic perspective of calligraphy:"advocating Wei and Jin Dynasty",Establishing "Feng and Shen" as the most aesthetic standard of calligraphy and Passing on the inner heart methods of learning calligraphy:"Miao Wu", expecting to fully analyze the the calligraphic thoughts of "Xu Shupu’" s implications.Chapter Four:by the researches of the relationship between "Xu Shupu" and "Shu Pu", comparing with the sames and differences between them, to have analysis and compared research between them in every aspect. Chapter Five: the influence of "Xu Shupu" to the calligraphic leaners descendant, which is divided from these aspects:the influence to Zhao Mengfu’s "advocating the antique methods of Wei and Jin Dynasty" in Yuan Dynasty, the influence to Dong Qichang’s "comparing Chan to Calligraphy" in Ming Dynasty, especially the influence to the inheritance of calligraphic technology and method in Yuan and Ming Dynasty, which concretely unfolds to analyze the influence and function of "Xu Shupu" to the later calligraphic learners.