| Focusing on the "transformed" calligraphic styles in Late Ming, this thesis aims at exploring the causes and theoretical implications of that particular trend from a historical and social point of view. It also analyses both the general and individual features of the styles so that the uniqueness, creativity and influences of the calligraphic trend are highlighted for an objective evaluation.This thesis comprises five chapters. Chapter 1 introduces the main objectives of the study and the methodology employed. Chapter 2 discusses the causes of the "transformed" calligraphic styles in the perspective of social changes and historical development of calligraphy. Chapter 3 deals with the views of literature, calligraphy, painting, aesthetics and personal cultivation of different masters so as to understand their common and individual concepts facilitating the emergence of "transformed" calligraphic styles. Chapter 4 studies the styles of major masters by tracing their artistic origins and analysing the brush and ink method, character structure and composition. The last chapter attempts to evaluate objectively the "transformed" calligraphic styles on the basis of their influences and traditional criticisms.In pursuit of spiritual expression and imposing strength, the "transformed" calligraphic styles departed from the Dong-Zhao tradition, opened a new path for the development of "tiexue" (studies of modelled calligraphy), and prepared for the change to be experimented in early Qing. Although the "tiexue" turned to become underlying since mid-Qing, it re-emerged, enlivened by the "transformed" calligraphic tradition of Late Ming, in both the Chinese and Japanese circles of calligraphy during the twentieth century. With regard to the inheritance and transformation of artistic traditions, the "transformed" calligraphic styles had indeed played an important role in the development of Chinese calligraphy. |
