On The Calligraphic Thought Of Huang Daozhou

The late Ming Dynasty is one of the peak of Chinese intellectual history,although it was in a turbulent period.Huang Daozhou's magnificent feat which inherited Confucian though that was one of the typical representive of the traditional intellectual who held the cultural integrity.Moreover,He was not only a civil official with the identity of ideologist and calligrapher,but also a scholar who took Taoism orthodoxy as his own duty.Therefore,it can be said that Huang Daozhou was the best candidate to investigate the relationship between Chinese Confucian and Calligraphic styles.In the Confucianism,Huang Daozhou ranked calligraphy as seventh even eighth spot.It can be seen from it that he didn?t take Calligraphy art as the top priority,then acquire calligraphic achievement and reputation.Huang Daozhou believed in the spirit direction from Confucian Classics to Taoism pursuing.Calligraghy belongs to the category of literature and art.Huang Daozhou believed that the excessive expression of art will not only confuse the pursuit of “the Golden Mean”,but is also easy to damage the development of Taoism.Therefore based on the premise of “external performance” can not cover up the “internal spirit”,as a Confucian,Huang Daozhou didn?t attach special importance to external performance of Calligraphy which become his necessary cognition.The main body of the paper is divided into five chapters including introduction and conclusion.The first chapter mainly describes three aspects of Huang Daozhou: moral integrity and political significance;booking producing;calligraphic achievement.That is to interpret Huang Daozhou all around by his three accomplishment.Politically,he was an honourable and loyal officer,moreover,he was a national hero and patriot to fight against Qing invader who will die before yielding.Academically,he was a Confucianism in late Ming dynasty with wealthy kownledge.He had had a great influence on that time and late long time.In addition,he also occupied a space for NeoConfucianism.Artly,especially calligraphy,he wrote regular script in small characters with strong personal spirit by drawing from ZhongYao.Furthermore,his cursive scripts fly hi s own and leave farreaching influence to later generations.The second chapter is based on Huang Daozhou's book and investigate the Confusion thought of the book.Huang Daozhou pay a great emphasis on the quality of human and calligraphy,and puts forward the aesthetic standards of “the deep and the charming” based on Confucian soul.The non-utilitarian and creative consciousness of calligraphy is presentation of attitude.It is fair to say that Huang Daozhou's calligraphy is serving for himself.He can express his feelings or promote thought of tsunatsune and righteousness with the helf of calligraphy.The third chaper is divided into two parts,first part is to explore the intersection of Huang Daozhou and other Confucian scholars by investigating penmanship cognition research of psychology.Calligraphy as the basic skill of the literati,every calligraphy learner need a model as learning object in its process.Because the concept that advocating ancient and questing paradigm in the current situation,the paper choose canonical and sapid ZhongYao as learning object.All above are the cognitive origin of calligraphy investigated by this part of paper.Calligraphy learning,even the formation of style of individual or all generations can?t leave the copy of outstanding works.Back to the origin,actually,it talks the influence for learners to follow calligraphy and copybooks.Eventually,the result of copying outstanding works is to keep image and structure of handwriting into our memories.Then learners need to creat their own new calligraphy works relying on those coping memories.Analyzing from this perspective,as long as copying objects is same for calligraphy leaners.There will be the opportunities to creat similar font and meaning of handwriting or even similar calligraphy learning attitude.The second part is investigating Huang Daozhou's calligraphic works,which mainly take ?Book of Filial Piety? and ?Epitaph of ZhangPu? as objects of cursive script study.With Huang Daozhou's Confucian identity as the foundation,analyzing his cursive script works and regular script works,and exploring the calligraphy works of other saints or scholars who has similar identity to Huang Daozhou,so as to distinctly show the calligraphy works with Confucianism soul.