Interpretation Of The Image Of Kuangcao Under The Tang People’s Visual Threshold

The emergence and establishment of the Kuang cao image during the Tang Dynasty was a result of the continuous amalgamation of multiple aesthetic images.This process can be seen as comprising of two essential aspects.One is rooted in the past.The aesthetic cognition of cursive script that had been formed since the Han and Wei Dynasties.The other is grounded in the present.The cursive script image shaped by the people of the Tang Dynasty.The former provides a guiding significance for the emergence and evolution of “Tang ren kuang cao”,while the latter is associated with the cultural connotation underlying the Kuang cao and its image formation and acceptance.The establishment of the aesthetic cognition of cursive script since the Han and Wei Dynasties can be traced back to the implementation of the “Shan Shishu” policy in the Han Dynasty.This policy facilitated the transition of characters towards calligraphy and widely affirmed the value of cursive script.Simultaneously,the daily practice of“Chidu” provided a conducive environment for cursive script to expand into the realm of art.During this period,scholars from the Han and Jin Dynasties actively engaged in the process with the awakening of aesthetic consciousness.In particular,Zhang Zhi,who initiated a “cursive script craze”,led a cluster of calligraphers.This development further freed cursive script from its practical value and facilitated its transition towards artistry.“Cao Shu Shi” written by Cui Yuan set up the basis of aesthetic theory.Wang Xianzhi’s creation of the “one-stroke script” broke through the awareness of single characters and enabled cursive script to continue extending into the realm of art.Using it as a foundation,the scribble formed a brand-new cursive style of “wild cursive” in the Tang Dynasty.The shaping of the Kuang cao image by the people of the Tang Dynasty occurred within the context of cultural expression and construction.It mainly shows Tang people’s yearning for the spirit of "crazy".The veneration of "saints";The romantic feeling of endowing poetry with aesthetic value of art criticism;and its fusion with other art forms such as “wall painting”,“sword dance”,and “drinking” that resulted in a new secular performance style.This image underwent significant development during with the communal efforts of calligraphers such as Zhang Xu,Huai Su,and the late Tang Dynasty monks,eventually presenting a multifaceted aesthetic image.Furthermore,the aesthetic experience accumulated by the public and indicated the pursuit of four areas in terms of the continuous integration and transformation of various images,points to the personality image of “dissolute”,the cursive image of “extraordinary”,the orthodox spirit of resistance and tolerance,and the enjoyment of pleasure.The flourishment and prosperity of the kuang cao were supported by the artists’ proficient techniques and expressed in a “difficult and fast” style.Within the aesthetic framework of the Tang Dynasty,the public’s general cognition of the wild scribble image was the result of joint shaping.Additionally,Zhang Xu’s breakthrough in the inherent style of cursive script was finally established by Huai Su,who inherited and integrated numerous images in the process,ultimately transitioning from “continuing the kuang with the dian” to “merging the kuang with the dian”.The subsequent rapid decline of the kuang cao was attributed to cursive calligraphers’ excessive focus on“seeking speed” and “seeking madness” without accurately understanding the underlying meaning of the aesthetic concept of “craziness” calligraphy and the rich cultural connotations.