The Study On The Worship Of Ancient Calligraphy In The Thought Of Huang Tingjian

This thesis takes the thoughts ofancient worshipμ from Huang Tingjian·s calligraphy asa studying object to conduct a monographic study. It is mainly through the review, theexpression in different level, the historical and family background that we gave to the ancientworship thoughts of Huang Tingjian·s calligraphy; Su, Huang, Mi, Cai, who also known asFour great calligraphy masters in Song dynastyμ, through their personality analysis andcomparation as well as the influence of Huang·s Zhuan calligraphic thought, to comb andpresent the clear texture of Huang·s worship of ancient calligraphic art, to reveal andemphasize a point of the ancient writing style of Zhuan and ancient prose is the the root ofcalligraphy·,it is of great significance to calligraphystudy.There are five chapters in this thesis. In the first chapter, Huang Tingjian·s life story, artachievements and his thoughts of ancient worship will be introduced briefly. In the secondchapter, how Huang·s thoughts of ancient worship is shown in his theory of calligraphy,writing techniques and poetry, and then analyze the calligraphic aesthetic orientation thatimplied in his thoughts of ancient worship; study and discuss Huang·s Zhuan, Li (anotherancient style of calligraphy current in the Han Dynasty and Qin Dynasty even before)aesthetics; differentiate and analyze the valley·s ancientμ, charmμ, vulgarμ, artisticconceptionμ, and show that ancient worshipμ is anaesthetic idea that could parallel with thecharm superiority, vulgar elimination and subjective-spirit worship in Huang·s calligraphy.Combining with poems and then analyze, prove that every word has a sourceμ, Huang·spoetry creation idea is the external manifestationof ancient worship. His principle of ancientworshipμ runs through it all. The third chapter has analyzed Su Shi, Mi Fei and Cai Xiang·sthoughts of ancient thoughts in detail individually, and has highlighted Huang·s character of this kind. The fourth chapter has explored the historical and family background of theformation of the thoughts of ancient worship, and analyzed the recessive factors that influenceHuang·s ancient worship thoughts. And in the fifth chapter, the author has researched throughthe influence of Huang·s calligraphic style, and chosen Shen Zhou in Ming dynasty, Fu Shanin early Qing dynasty, and Zheng Banqiao in middle Qing dynasty as research objects to studytheir thoughts of ancient worship individually and reflected Huang·s far-reaching influence ofhis thoughts of ancient worship as well as special calligraphic skills. Together with the currentsituation of calligraphic community, the author points out that Huang·s ancient calligraphicmethods of Zhuan and Liμ and Zhuan Liaestheticsμ have positive meaning to the reality.After combing the formation, showing and influence of Huang Tingjian·s thoughts ofancient worship, analyzing the similarities and differences of the ancient worship thoughts ofSongdynasty·s four great mastersμ, the author tries to reappear how Huang in900years ago,admire the ancient, learn from the ancient, but not restricted to the ancient, make newadvances and finally develop a style of his own. The author tries to emphasize that learningcalligraphy need to trace back to Zhuan and Li calligraphic style. Zhuan, Zhou (another kindof ancient Chinese calligraphic style current in the Shang and Zhou Dynasty) ancientcalligraphy is the root of calligraphy. So reading more books, improving learning andcultivation are greatly needed. Huang·s thoughts of ancient worship and ways of learningfrom the ancientμ dialectically really are worth our modern calligraphic community·sreferencing and deep thinking. Huang tingjian’s point of view: cursive script and Ke bucket,of nationalities with method agreeμ(including the method of creating Chinese characaters)heexalted, treating ancientsμ and the ancients’ calligraphy techniques μin serious scientificattitude and dialectical method, learning from the ancients objectively, creating a new worldon the basis of the ancients, above all this has great reference value and enlightenment of thepresent calligraphy study.