Research On The Aesthetic Style Of Oneness Of Calligraphy And Painting In Wuzhen

"The oneness of painting and calligraphy" is the unique phenomenon that happens to Chinese painting and calligraphy,and also one of the most distinctive national identities.As a visual art,Chinese painting is similar to its western counterpart in terms of modeling interest and composition.Calligraphy into painting is one feature that differs Chinese painting strokes from western ones.Li Kuchan once said: "calligraphy to the uppermost is painting,painting to the uppermost is calligraphy." This interpretation not only reveals the dialectical unity between calligraphy and painting,but also sets the criterion for the appreciation of Chinese painting and calligraphy,that is,painting should be full of calligraphy flavor,while calligraphy should have pictorial composition.Chinese painting and calligraphy converged in the Sui and Tang dynasty and blossomed in the Song dynasty.With the rise of literati painting in the Yuan dynasty,the relationship between calligraphy and painting became closer,and "painting with calligraphy" was the fulcrum of literati's artistic potential."The Four Yuan Masters" are the representative figures of "painting with calligraphy".Among "the Four Yuan Masters",Wu Zhen,self-named “the plum blossom Taoist”,showsthe "oneness of painting and calligraphy" by his inventionof "wet stroke","cut stroke" and "cursive script and postscript",and has passed down many great works such as Heart of Prajna Paramita Sutra,Ink-bamboo Atlas,River-mountain Hermitage and Fisherman Portrait.Wu Zhen's aesthetic style of the "oneness of painting and calligraphy" unifies the brushwork,the way of ink and the composition of calligraphy and painting.The aesthetical appreciation of brushwork and the abstract beauty of composition in calligraphy influence the development of Chinese painting,and in turn the varietal means of depiction in Chinese painting has an impact on calligraphy.However,we should guard against the formalist trap that appears in the later stage of the development of "unity of painting and calligraphy".In addition,"modern ink painting" and "modern calligraphy" and other contemporary art phenomena of the "oneness of painting and calligraphy" have a great impact on traditional painting and calligraphy.How can traditional brush and ink be better inherited and developed in the contemporary context? From the perspective as the independent spirit of art,forming a unique artistic language and style is the "original purpose" of art creators,and also the basis of the prosperity and development of Chinese painting and calligraphy.From the regional aspect of art,we should keep looking back at the tradition in the research and creation of art,inherit and develop the "oneness of painting and calligraphy",the most significant cultural feature of Chinese art that distinguishes it from that of other countries and regions.From the perspective of art in the world,"the oneness of painting and calligraphy" has many contemporary challenges.We should uphold an open mind and a global perspective,being inclusive,put new life and vitality in the traditional stylized language,and continue to study and carry forward the essence of Chinese painting and calligraphy.