The Study Of Han Dynasty Cursive "Situation"

Shape and force, as the basic elements constitute calligraphy language, reflect in various aspects including stipple, gesture, structure, art of composition etc. Shape and force are the foundation of the noumenon of calligraphy; while the combination of them is the conscious expression of the aesthetics of calligraphy. Based on the understanding of calligraphy above, following the development of the calligraphy during Qin and Han dynasty, combining the bamboo slips and silk books and the theory of calligraphy in Han dynasty, which have just been unearthed, this paper adopts one history method-- dual attestation to focus on the discussion of the changes and the development of the shape and force theory of the cursive script in Han dynasty by words and pictures. One of the outstanding characteristics of shape and force theory lies in the fact that it is consciously and closely related to the birth of cursive script and the trend of calligraphy. The end of Han dynasty is both the era when the shape and force theory came into existence, and the age of the maturation of cursive script and art consciousness. Therefore, as for the unified research on the three above, it is not only a brand-new research on the cursive calligraphy in Han dynasty fromma new historical perspective, but also a specific theoretical judgment of shape and force theory. Thus a shape and force theory based on the perspective of ontology can better close the gap between local tradition and introduced western aesthetics so as to improve the integration of Chinese and western "shape and force" theory.The paper is divided into four chapters. Beginning with the Chinese characters evolution, the first chapter discusses the origin of the "shape and force" of the cursive calligraphy in Han dynasty and art consciousness, analyzes the role that Chinese characters evolution plays in the promotion of the evolution of the "shape" and "force" of the cursive script in Han dynasty and the reaction of cursive script to regular script, which emphasizes the special meaning and value of "force" to art consciousness. The second chapter expounds the concept of shape and force in the theory of calligraphy in the Han dynasty and explains the concept and aesthetics of shape and force. The third chapter continues the concept of shape and force. From the perspective of the noumenon of calligraphy, it analyzes the concrete manifestation of the shape and force of the cursive script in the Han dynasty. Through the development and historical transition of shape and force theory, and combining the understanding of "shape and force" in the realm of art, the last chapter analyzes the essential meaning, contemporary value and connotation of shape and force theory.