Spreading To The East And Learning From The North: A Study On The Acceptance And Criticism Of Korean Calligrapher Jin Zhengxi’s Calligraphy

Through cultural exchanges with China,the Korean Dynasty formed different book styles and Book Theories in various times.In the late Korean Dynasty,with the exchange between the North Korean school,especially the realistic school represented by Ruan Tang and Jin Zhengxi,and many Confucianism in the Qing Dynasty,Chinese textual research,epigraphy,calligraphy and painting spread to North Korea,making an epoch-making change in the Korean calligraphy world.Based on the background of the spread of Chinese culture outside the domain and the North learning of China by Korean scholars,this paper makes a comprehensive and detailed explanation of the connotation expansion,implication overflow and causality of the acceptance and criticism of Jin Zhengxi’s calligraphy from the social and cultural perspective of his friendship,thought and creation,and integrates the research methods of literature and images.This paper is divided into six chapters:The first chapter mainly studies Jin Zhengxi’s Yan Xing and his friendship with the Qing people.The change of Jin Zhengxi’s calligraphy style and concept is due to his acceptance and learning of the calligraphy style and concept of the Qing Dynasty and the model of Steles presented by the Qing Dynasty.Through the diary of Yan Xing of the passing envoy,this paper describes the beginning and end of his Yan Xing,as well as his friendship with teachers and friends,calligraphy and painting of the Qing people when he stayed in Beijing and after returning to the East.The second chapter mainly discusses Jin Zhengxi’s positioning of calligrapher cultivation.Jin Zhengxi believes that calligraphers must have "the fragrance of words and the spirit of books",and emphasizes the "Zen theory of poetry,calligraphy and painting".Both Confucianism and Buddhism can be reflected in artistic works,and knowledge and art can be discussed at the same moral level.The third chapter mainly discusses Jin Zhengxi’s approach to learning books.Jin Zhengxi absorbed the academic achievements of Pu Xue in the Qing Dynasty,inherited Ruan Yuan’s path theory,and applied the practical and realistic research attitude to art.The fourth chapter mainly discusses Jin Zhengxi’s understanding of calligraphy aesthetics.The study of inscriptions and calligraphy from China made Jin Zhengxi form the aesthetic spirit of calligraphy based on ancient times.His deliberate pursuit of the unique aesthetics of ancient and natural secrets in different styles of Chinese calligraphy,such as ancient Li,brick and tile inscriptions,Yi bingshou and so on,also formed his own style of calligraphy "autumn history style".The fifth chapter mainly discusses Jin Zhengxi’s misunderstanding of calligraphy schools.After accepting Ruan Yuan’s theory of northern and southern calligraphy school,Jin Zhengxi applied this concept to the Korean calligraphy world.Since his childhood,he was influenced by the tradition of calligraphy.After Yan Xing,he followed the theories of Weng Fanggang and Ruan Yuan,and the views of tablet calligraphy continued to deconstruct and collide,resulting in self contradiction in the views of calligraphy school.The sixth chapter mainly discusses Jin Zhengxi’s reinterpretation of creative techniques and tools.After Jin Zhengxi Yan’s trip,he learned to "pull the stirrup".With "dark pulp and thick,ten thousand millimetres of force",he developed both ink and brush techniques.Influenced by the theory of Yin-Yang deficiency and reality in Chinese calligraphy,he put forward the "Yin-Yang painting" of calligraphy.As a representative artist of the Korean Dynasty and a representative scholar of the practical school budding in the late Korean Dynasty,Jin Zhengxi,influenced by Chinese traditional culture,based on the knowledge view of practical learning,Confucianism and Buddhism,focuses the artistic philosophy of creative ideas on his calligraphy.Therefore,his calligraphy is both general and special.The research on the acceptance and criticism of Jin Zhengxi’s calligraphy can not only explore his artistic vision,but also serve as an important port for further studying the external communication history of Chinese culture and the art history of China and Korea.