The Acceptance Of Mi Fu’s Calligraphies By The South Song Dynasity

As one of the most four famous calligraphers in Song dynasty, Mi Fu’s calligraphic composition was judged by Su Shi with the words of "running as quickly as a horse,writing directly every time, keeping the balance with Zhong and Wang".His calligraphic works were not simply famous in both the court and the folk of the north song dynasty, but also appreciated by the south song dynasty having a small reginal areas. From the reading after the related documentaries, the central calligraphic thought of Mi Fu’s "fun"comments, which had a direct influence in his tracing, copping imitating,faking and creating. Although the scholarship has had a abundant,traditional researches in the calligraphic minds, calligraphic inks and stone inscriptions, but few researchers focused on the researching object of the compositions and theories of calligraphies in the angle of the receiver’s, which also has non-researches under the background of South Song Dynasty.In1960year, Jause, the federal republic of Germany scholar, put forward with the thought of reception aesthetics in his book of "the history of literature as a literary science challenge", which hurried to spread in the field of literature theories, but was large empty in field of arts’history, especially the calligraphy theories. My paper regards the acceptance of calligraphy as the research Angle of view,with the accepted backgrounds of the southern song dynasty,depends on the "the reader as the center" of research methods in "reception aesthetics" of Jauss, investigating the accepted results among the calligraphy theory, calligraphic compositions, the practices of Mi Fu’s learning from the ancient arts and calligraphic inscriptions in the calligraphers of the south song dynasty, which changes the traditional,single, rigid disadvantages of calligraphy ontology researches, providing the theoretical references for bettering researches of the accepting history of calligraphy.In this paper, the research is divided into five parts:The first part is "the calligraphies of Mi Fu circulated in the southern song dynasty ".To tease Mi Fu’s calligraphy inks and stone inscriptions circulation of the southern song dynasty works from calligraphic history, literature and calligraphic inscriptions of the southern song dynasty in order to provide material support for the further accepted researches.The second part is "Mi Fu’s calligraphy thought accepted by the southern song dynasty". Firstly, to clarify Mi Fu’s calligraphic theory system of the core theory of "fun" comments, which related to advocate "interest" concept of natural changes,"antiquity" view of admiring Jin dynasty suppressing Tang dynasty,"interest" views of self-sufficient depending on sufficient "yi"and the view of judging person of "interest evaluation". Then, beginning with the accepted researches of Mi Fu’s calligraphic minds by the receiver:"admiring Jin dynasty suppressing Tang dynasty "Zhao Gou,"the majority of Tang dynasty"Zhu Xi,"entering into Jin by Tang dynasty"Zhao Mengjian.The third part is "the acceptance of the southern song dynasty to MiFu’s calligraphic compositions". this part regardes the accepted differences of calligraphers of the southern song dynasty as the researching angle of view, which respectively is oblique writing:the acceptance of Mi Youren on writing methods, jolting transition:the acceptance of Wang Sheng on transitions, freshing write power:the acceptance of Zhang Xiaoxiang on write power,elegant considerable:the acceptance of Fan Chengda on writing gesturest, mellowly handsome:the acceptance of Wu Ju on charm.The fourth part is "the impression of Mi Fu’s Jin and Tang calligraphy studies to the southern song dynasty".this part firstly discusses the learning style(tracing, copying and imitating) of Jin and Tang calligraphy and the collection of his compositions, discussing the relevant influence to the southern song dynasty. Then judging from the authenticity problem of the coping of Mi Fu’s "lanting", discussing the calligraphic thought of "Lan Ting" in southern song dynasty.The fifth part is "the acceptance of Mi Fu’s calligraphic stone inscriptions of the southern song dynasty".this part, based on the researching angle in the the stone inscriptions of Mi Fu by the southern song dynasty, makes a research in the calligraphies of Mi Fu, of which researches respectively depends on the researching angles of the edition of Mi Fu’s inscriptions, the differences in chirographies recorded and the calligraphic thought of the workers, finally inspecting the status of Mi Fu calligraphy style in the horizon of the southern song dynasty.