Research On The Paradigm Of Lishu In The Tang Dynasty And The Qing Dynasty

The Tang Dynasty and Qing Dynasty were the two prosperous periods of official script in the history of Chinese calligraphy,and the writers of official script were faced with the situation of weak accumulation of official script in the former dynasties.In the end,the ancient law of official script in Han Dynasty was chosen as the object of the reform of the style of calligraphy and the banner of the revival of the book.However,the pattern of the final creation and the style of the new book were quite different.Under the influence of the prosperous weather in the Tang Dynasty,under the guidance of the emperors and the creative activities of the baccalaureate calligraphers in the institutions of the Pavilion,the style of the book was transformed,but also because of the influence of the spirit of the law and the official aesthetic orientation,it was established with grace and elegance.Square end neat and with stylized tendency of "Pavilion Paradigm".Qing Dynasty Li Dynasty On the other hand,against the background of the rulers carrying out ideological confinement and stifling creativity on literati,the book is faced with a great crisis in the face of the calligraphy tradition,which is dominated by post-learning.Through the rise of the study of gold and stone and the visit to the monument to explore the popularity of ancient fashion to restore the ancient law in the Han and Li dynasties,enrich the system of law collection of the official script,and complete the revival of the official script under the guidance of the aesthetic concept of the trend of thought in the study of steles.Established the "tablet study paradigm" with the characteristics of the times.The purpose of this paper is to analyze the artistic paradigms formed in the Tang Dynasty and Qing Dynasty under the background of their respective times,to compare the two renaissance of official script in the context of the times,aesthetic concept and the form of works,and so on,with the help of the art paradigm of the Tang Dynasty and the Qing Dynasty.The concept of paradigm provides a new perspective and reference for grasping the spiritual core of calligraphy creation activities in these two times in order to establish a macro-understanding of the course and pattern of the revival of calligraphy in two times.