The Contradiction And Misplacement Of XingTong’s Handwirting Thoughts

XingTong is one of the famous calligraphers in the history of calligraphy in late Ming Dynastyand DongQichang assame as the "BeiXingNanDong".But, after he death,they have different treatment.XingTong’s Hndwirting Thought have"retro" and "retro" tendency and contradictory, It is worth for us to continue to explore in depth. During the late Ming Dynasty, the dislocation Chinese classical aesthetic ideal and social reality through XingTong life, especially in XingTong resign seclusion after thirty years, the increasingly prominent. XingTong have many contradictions, he tried in the retro and anti-retro, Tiexue orthodoxy and between anti-calligraphy to find a balance point, finally failed to achieve. In such a extremely chaotic age,he collects the moment to highlight thepost "LaiQinGuaTtie" calligraphy orthodoxy. He advocates the WangXizhi and WangXianzhi are a typical manifestation of its "retro" on calligraphy. XingTong is the late Ming calligraphy conservative minister, he standing in the late Mingcalligraphy of the topof the whole Ming Dynasty calligraphy tradition defenders and exalted, he didn’t rebel Tiexue orthodoxy, also don’t like DongQichang——find a way to solve the contradiction of the crisis between "Fa" and "Yi".The goal of this paper is through XingTong calligraphy and literature contains the thought of analysis, combined with the late Ming trend of thought in literature and art ofXingTong, in-depth exploration of his Handwirting deological contradiction and dislocation. This paper attempts to address several of the following issues:Firstly, XingTong is not like"QianHouQiZi" in the literary and artistic creation and theory do "search", follow the testimonies, follow in sb.’s footsteps, there was no enough innovation in calligraphy, self-contained, cause he failed to "borrow ancient new" are in many aspects, so what is the reason in the ideological level, he was under the guidance of the thought of how artistic creation".Secondly, XingTong in late Ming Dynasty calligraphy calligraphy is neither the change, nor the orthodoxy of the rebels, at this point, he is different from DongQichang, XuWei, ZhangRuitu and also compared to catch up from behind by WangDuo et al. He is under his guidance,he is a very "conservative people", he is also "Dared not country"and he is live only rely on literature and art to the sustenance of the ideal and the reality of the orthodoxy of the ’defenders, what is he going to artistic expression and results?Thirdly, after he death, many people forget him.And this is why?This paper is divided into four parts, the first chapter introduces the social background in late Ming and XingTong’s family.After the Jiajing reign’s "DaLiYi",Longqing, Wanli become immoral, depraved officialdom, politics flagging domestic trouble and foreign invasion, come in a throng, under this kind of literary art with profound changes. The second chapter from the late Ming Dynasty vintage and retro, anti Tiexue orthodoxy and anti-calligraphy, to affect the physiology and psychology etc. the fierce collision caused by various thoughts of XingTong, further exploration in extreme chaos of the late Ming era, the personal book study thought. In the late Ming XingTong retro popular period, as the classicist school peripheral members, "SiShiZi"and one of the retro faction, both literary and artistic theory very cordial, and master Zhang Shan left "QiFeng"to deify ancient", which has a great influence on his writing practice. The third chapter discusses the thought of science for XingTong handwirting contradictions and dislocation performance. The fourth chapter mainly discusses the reason for the decline of XingTong’s handwring. XingTong is "the top of the four late Ming handwriters "when he was alive and on his evaluation and the high degree of concern.But many people forget him is also very quickly. To the QingDynasty, XingTong’handwirtingwere almost hardlytake attention and his poemswere also not interested.