The Acceptance Of Huang Tingjian’s Calligraphy In Ming Dynasty

Huang Tingjian,whose name is Lu Zhi,is the Taoist man in the valley.Huang Tingjian,one of the four schools in the Song Dynasty,has a unique calligraphy style.His calligraphy thoughts and calligraphy works have left a strong mark in the history of Chinese calligraphy development.The mountain style of calligraphy has a profound impact on future generations.The Ming Dynasty was an era of great changes in Chinese history.Influenced by the literary and artistic trends of the Ming Dynasty,the book circle of the Ming Dynasty admired the aesthetic concepts of "oddness" and "statement".To Huang Tingjian and other highly innovative calligraphers,The calligraphy world in the Ming Dynasty gave birth to the environment for its calligraphy acceptance.The first chapter introduces the background of Huang Tingjian’s calligraphy acceptance in the Ming Dynasty.The general environment of the calligraphy circle in the Ming Dynasty is an important factor affecting Huang Tingjian’s calligraphy acceptance.The philosophical foundation of the Ming Dynasty was mainly based on Cheng-Zhu Neo-Confucianism and Xinxue.Neo-Confucianism was not conducive to the dissemination of Huang Tingjian’s calligraphy in the Ming Dynasty.The emergence of Xinxue created good conditions for the dissemination of Huang Tingjian’s calligraphy in the Ming Dynasty.With the changes in the philosophical foundation,the aesthetic concepts of calligraphers in the Ming Dynasty also changed,which in turn changed their attitude towards Huang Tingjian’s calligraphy.In addition,the changes in the shape of tables and chairs and the structure of the houses in the Ming Dynasty caused the size of the paper to gradually change from a fan and a bucket to a larger form such as a vertical scroll.This is a new challenge for calligraphers.The original way of knotting The layout of the chapters may no longer be adapted to larger papers,so Huang Tingjian,who mainly writes large-character regular script and cursive script,became the object of the Ming dynasty calligraphers.The second chapter discusses the acceptance of Huang Tingjian’s calligraphy thought in the Ming Dynasty.The "freehand brushwork","relevance" and "Zen" thoughts in Huang Tingjian’s calligraphy thought all have a certain connection and similarity with the calligraphy thought of the Ming Dynasty.First of all,Huang Tingjian formed a unique view of freehand copying under the aesthetics of freehand drawing and calligraphy in the Song Dynasty.The concept of "fictional copying" by Zhu Yunming and Wen Zhengming in the Ming Dynasty is essentially spiritually connected with Huang Tingjian’s "freehand copying"."The idea of calligraphy was inherited by calligraphers in the Ming Dynasty and has been further developed.Secondly,Huang Tingjian’s always-emphasized "refinement" thought coincides with the "shangqi" calligraphy atmosphere in the Ming Dynasty.In the Ming Dynasty,Xu Wei,Wang Duo,Fu Shan,Dong Qichang and other calligraphers all agreed and accepted Huang Tingjian in the book theory."Relevant" thinking.Finally,Huang Tingjian’s “Zen” thoughts and the “Zen” thoughts of the late Ming Dynasty have certain similarities,especially the Zen thoughts of Huang Tingjian and Dong Qichang.The demonstration shows that Dong Qichang accepts the Zen part of Huang Tingjian’s calligraphy.The third chapter analyzes the acceptance of Huang Tingjian’s calligraphy works in the Ming Dynasty.Affected by the social background and philosophical thoughts of the Ming Dynasty,the acceptance of Huang Tingjian’s calligraphy showed different acceptance conditions in the Ming Dynasty.In the early Ming Dynasty,under the influence of Zhu Xi’s Confucianism,calligraphers held a derogatory attitude towards Huang Tingjian’s calligraphy;until the emergence of Xin Xue in the middle and late Ming Dynasty,the early calligrapher Shen Zhou of the Wu School School of Calligraphy and others began to learn from Huang,which led to this.After the entire Wu School of calligraphy learned Huang and Chong Huang,the style of the mountain calligraphy was further spread at this time;in the late Ming Dynasty,calligraphers no longer followed the same steps as the Wu School in learning Huang,but more selectively After studying,he accepted the characteristics of Huang Tingjian’s calligraphy in terms of structure,composition,and brushwork.The fourth chapter reveals the internal factors and enlightening significance of the acceptance of Huang Tingjian’s calligraphy in the Ming Dynasty.Through combing the acceptance of Huang Tingjian’s calligraphy in the Ming Dynasty,we found that the ideological and political environment of the calligraphy circle,the internal teacher-subsidiary relationship of the Wumen calligraphy school,and the personal aesthetic taste of calligraphers were important factors that influenced the acceptance of Huang Tingjian’s calligraphy by calligraphers in the Ming Dynasty.It has important enlightenment significance to the development of today’s book world.The development of today’s calligraphy world needs an open and tolerant ideological environment.The development of today’s calligraphers needs to keep pace with the times,to maintain the bottom line of calligraphy learning,and to maintain the gentle personality of a gentleman.In this way,the development of calligraphy can be endless.