Translated Abstract
In the history of criticism of Chinese calligraphic theory, Sun Guoting’s Essay ON Calligraphy is an important theoretical writing of the past and ushers in the future. Under the background of the prosperous society of Tang dynasty and Tang culture of “You Rong Nai Da”, especially Tang’s calligraphic culture of “All feat that is in the world is over”, and on the basis to summing up anterior theory, especially early Tang’s calligraphy practice and theoretical outcome, it expounds the calligraphic aesthetics from all bearing with Chinese ancient philosophy and aesthetics as its guidance. However, without probing deeply into its theory, modern people made, only in calligraphy history and work as well as single dissertation, the direct survey and introduction lacking central contention, theoretical setup and inner relations. The new point of this dissertation is that, under the guidance of changeable thought of Chinese ancient philosophy and four factors of art activity that was unanimously accepted by Chinese and foreign literature and art, it, with changeable explanation as its central contention, has unearthed and analyzed the theoretical value of aesthetics of Essay On Calligraphy from on development, calligrapher, creation, style and acceptance. I think the theory of calligraphic development of Essay ON Calligraphy probes the relationship between calligraphy and world (era, society). From double views, it uses the changeable thought to probe into the relationship between the era and Chinese words, derivation, artistic essence, exterior and interior factor that actuates its development. The theory of calligrapher studies the relationship between creator and opus through three aspects, including character, mentality and the age of calligrapher, thus it has made their artistic characteristic known for the calligraphy of Prosperous Times of Tang dynasty and formed the unity of accordance and diversity of calligraphy style, and made a firm theoretical foundation. In addition to probing into artist and opus, the theory of creation systematically discuss the popularity and peculiarity of artistic regularity of calligraphic creation, especially probes into the generation and characteristic of afflatus in the period of enlightenment, and lays theoretical foundation for the Chinese ancient calligraphy. The theory of style reveals aesthetic characteristic embodied in the course that creator and artistic opus merges mutually. From two aspects of “Tong” and “Bian”, it discuss the generation of artistic style in the calligraphic opus, and displays artistic pursuit of calligraphy in early Tang dynasty when importance was attached to form and content. By studying “Zhong, Zhang and two Wangs” and summing up calligraphic appreciation and criticism of Han and Wei dynasty, Essay ON Calligraphy expounds accurate attitude of appreciators, the basis rule of calligraphic appreciation, criterion and principle of calligraphic criticism, and profoundly explains the theory of acceptance from combination with theory and practice.With advanced, scientific theoretical system, novel and central contention, and study method of combining history with theory, this dissertation has made a series of monographic study and analysis to the theoretical value of aesthetics of Essay ON Calligraphy. Thus it has filled up the vacancy of research of Essay ON Calligraphy, exploited a new research angle and provided an important assistance to the contemporary calligraphic creation and theoretical studies.
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