Theoretical Analysis And Practical Research On Seal Carving By Literati In The Ming Dynast

The research on the structure identity of Chinese brush and ink in painting and calligraphy is based on the construction rules and identity characteristics of brush and ink ontology in the history and practice of calligraphy and painting.The purpose is to clarify the innovative path of calligraphy and painting art from the construction rules,specific form and identity characteristics of its metaphysical brush and ink structure.At the same time,the intrinsic form of the brush and ink structure of calligraphy and painting art explores its unique significance and academic value in the creation and education of calligraphy and painting.Brush and ink are the unique value embodiment of Chinese calligraphy and painting.It is not only the structural method and ontological elements of painting and calligraphy,but also the carrier of metaphysical spiritual expression,and it also reflects the deep mechanism of national thinking.The structure of brush and ink reflects the order reconstruction of calligraphy and painting in their original structures.It is based on "one-stroke shape" and "five elements" under the influence of subject emotion and image modeling,the symbolism,abstraction,symbolism and stylization of calligraphy and brushwork appear comprehensively,and finally move towards the construction of "identity" of calligraphy and brushwork.The construction of "identity" not only reflects the individual differences of the art of calligraphy and painting in the integration of subject,object,and ontology,and the integration of rationality,materiality,and painting theory,but also reveals the unique basis and path of calligraphy and painting innovation.The construction of the structure identity of calligraphy,brush and ink has undergone three changes since the Tang Dynasty: the structure of calligraphy,brush and ink in the Tang Dynasty is reflected in the changes of the subject " nature and the source of mind ",the noumenon "ideal and writing",and the object "similarity and reality".The "formation and initial change" of the construction of the identity of the brush and ink structure-the same brush and body;the fusion of the Song and Yuan Dynasties in the subject "in the heart and suitable for my meaning",the subject "the original is the same as the calligraphy and painting",and the object "normal shape and common sense" The "development and rebirth" of its identity construction is reflected in the Ming and Qing Dynasties: the promotion of the subject’s "writing the mind and creating the environment",the noumenon’s "path and brush and ink",and the object "removing the shape and pleasing the shadow".It presents the "reconstruction and transcendence" of its identity construction-the same situation and the same situation.The structural identity of calligraphy,brush and ink is a comprehensive reflection of the historical evolution in the dual compound of painting history and practice,the fusion of "the unity of calligraphy and painting" and the "integration of calligraphy and painting",and the form of the philosophical thought of "harmony between man and nature".The "identity" of calligraphy,brush and ink structure is to explore the deep thinking mechanism and modeling mechanism of Chinese calligraphy and painting from the perspective of form construction.Its "identity" feature not only reflects the difference between the expressive essence of Chinese artistic emotional spirit and the form construction,but also reflects the unification of the subject’s inner spirit and formal expression.