Set Up A Banner For The Scholars—A Study On Dong Qichang’s Orthodox View Of Calligraphy And Painting

Dong Qichang(1555-1636)was an outstanding master of calligraphy and painting in the late Ming Dynasty.His influence affected the four Wangs,four monks,Jinling school of Painting,Xin ’an School of painting and other literati paintings from the Early Qing Dynasty to modern times.It can be said that "a lion drop of milk,scattered for the masters".He integrated the ancient and modern,insight into the current problems,to zen metaphor painting,including the history of painting and calligraphy,theory,techniques,appreciation,a system of its own set of painting and calligraphy theory,can be called "gold needle",spread far and wide.Corresponding to dong Qichang’s action of establishing spirit and supporting calligraphy and painting,there was a conflict between calligraphy and painting in the late Ming Dynasty and a crisis of unification of Taoism.The confucianist philosophy of Cheng and Zhu weakened due to rigidity,and the development of the psychology gradually exposed the evils of insanity.The orthodoxy of Confucianism urgently needed to be restored.From dong qichang his special experience and Confucian ambition,its emphasis on the painting and calligraphy theory advocated by the orthodox ideas and most likely is the existence of two sides,for this proof,can we more deeply understand the calligraphy and painting theory provides a new Angle of view and path,is also a big help we really understand the connotation of the so-called "literati painting".Starting from dong Qichang’s life and his political environment,this paper first explores dong qichang’s emphasis on his identity as a scholar and the orthodoxy of Confucianism,and then from the outside to the inside,from his attitude towards the orthodoxy of Neo-Confucianism andConfucianism,and explores the neutrality of his ideology and the harmony of his views.In view of the literati’s tradition of "writing to convey tao",literary theory is to a large extent the reflection and implementation of Taoist thoughts.Then,the author tries to find the isomorphism and similarity between Dong Qichang’s literary ideas and his ideological tendency.On this basis,we can make it clear that Dong Qichang has a strong sense of orthodoxy,and has almost the same conciliatory tendency in his thoughts and poems.Once we enter dong Qichang’s painting and calligraphy world through this path,we can see the logical relationship behind his painting and calligraphy theory more clearly.This paper analyzes the two parts of Dong Qichang’s book and painting from two aspects:one is how Dong realized the reconstruction of the correct list of book history and painting history under the orthodoxy;The second is what unique theoretical criteria it constructs for judging and distinguishing orthodoxy.The two levels correspond to book history and painting history and book theory and painting theory respectively,which together constitute dong Qichang’s positive and unified view of painting and calligraphy under the complementary relationship.In addition,from the synchronous study of Dong Qichang’s thoughts,literature,calligraphy and painting,we find that all of them point to Su Shi without exception from the theoretical source,and the introduction of Su Shi’s thoughts and literary theory is the solid foundation of his orthodox ideas.Dong Qichang tried his best to maintain the essence of orthodoxy,which was to guard against the collapse of the spiritual world of the intellectuals,the moral elite and cultural elite of the literati group,and the loss of the spirit of the intellectuals since the Northern Song Dynasty.In the theory of painting and calligraphy,he put forward such dialectical concepts as "separation" and "unity","birth" and"practice","law-abiding" and "renfa",and his attitude towards the integration of "Northern School"and "Southern School","Song painting" and "Yuan painting",all reflect his neutrality and harmony to support orthodoxy.Finally,he developed a core concept of "light",which runs through the whole system of "morality-poetry-painting and calligraphy",from Su Shi’s "plain" literary views.Light,connected with the moral indifference and lack of desire,the plain and innocent poetry,painting and calligraphy morale of the light,was marked by Dong Qichang as the highest realm of scholars aesthetic and moral cultivation,as well as the highest standard to identify orthodoxy.