A Study On Calligraphy Aesthetics Of Metal And Stone Inscriptions

The calligraphy of metal and stone inscriptions are one of the two branches of the Stele School and the Tie School in the Chinese calligraphy art system.Epigraphical mainly refers to all kinds of metal(bronze,iron,etc.)and stone materials with written objects,such as Shang and Zhou bronzes,Qin and Han stone carvings,stele carvings,etc.It was also the name of calligraphy and seal cutting.Epigraphical includes "stele inscriptions",but "stele inscriptions" have a more specific scope.The study on calligraphy of metal and stone inscriptions in this paper is mainly from pre-Qin to Tang and Song Dynasties.From the perspective of its objects,it includes bronze wares from Shang and Zhou Dynasties,bronze wares and iron wares with inscriptions from the Qin and Han dynasties to the Tang and Song dynasties;it also includes cliffs,stone tablets,epitaphs,and various buildings from the Qin and Han dynasties to the Tang and Song dynasties.It also includes jade and stone seals(seal cutting),early oracle bone inscriptions and so on.From the perspective of their classification,there are not only those that are distinguished by text fonts,such as oracle bone inscriptions,bronze inscriptions,large seal script,small seal script,regular script,official script,etc.,but also those that are distinguished by utensils,such as bell and tripod inscriptions,inscriptions on inscriptions,brick inscriptions,imprints and so on.Among them,a large number of relics of gold and stone inscriptions are classic models of calligraphy learning in the past dynasties,such as "Mao Gongding","Sanshi Pan","Shiguwen","Stone Inscriptions in Yishan","Cao Quan Stele","Zhang Qian Stele" and "Zhang Menglong Stele" "Twenty Items of the Dragon Gate","Yan Qin Li Monument","Shen Ce Jun Monument" and so on,it is difficult to list them all.As half of the Chinese calligraphy system,calligraphy of inscriptions on metal and stone tablets is of great value and significance.Since scholars in the Qing Dynasty proposed the division of stele inscriptions,the calligraphy world has set off a trend of "respecting steles and suppressing pedigrees".The study of Chinese calligraphy aesthetics,of course,is an indispensable content of the inscriptions on stone tablets of past dynasties.However,as an emerging art category,calligraphy aesthetics is still relatively weak in its discipline system construction and academic achievements.There are still many blanks in the calligraphy aesthetics of metal and stone inscriptions belonging to its branch.And the results can be seen.Since the past dynasties,the production of various metal and stone inscriptions has experienced a development process from rise to prosperity,from prosperity to decline.The social values such as moral education,chronicle inheritance,and aesthetics embodied in them are very prominent.As a branch of artistic aesthetics,the calligraphy aesthetics of inscriptions on metal and stone tablets is attached to the material carrier of inscriptions on metal and stone tablets,and develops due to the continuous self-consciousness of the writers of the inscriptions in terms of aesthetic awareness.The creative aesthetic orientation of calligraphy inscribed on metal and stone tablets has gone through a process of development from crudeness,naivety,and straightforwardness in the early stage to refinement,standardization,and maturity in the middle and late stages.In particular,the "metal and stone spirit" formed after the baptism of time and space(natural)factors has been used for reference by later calligraphers.Calligraphers use special pen and ink writing techniques in their creations to pursue the majestic and magnificent momentum of calligraphy inscribed on metal and stone tablets.It reflects the changes of calligraphy aesthetics since modern China.The beauty of metal and stone calligraphy has also become an important aesthetic orientation in the study,creation and appreciation of contemporary calligraphy.From the development process of the aesthetic consciousness of the production(engraving)of metal and stone inscriptions in the past dynasties,especially from the interpretation of the calligraphy relics(works)of metal and stone inscriptions in the past dynasties,we can know that the calligraphy of metal and stone inscriptions has gone through from the occurrence of the aesthetic consciousness of the pre-Qin inscriptions.,to the development of aesthetic awareness of inscriptions on inscriptions on metal and stone inscriptions in the Qin,Han,Wei and Jin Dynasties,and then to the vigorous development of calligraphy aesthetics and the construction of disciplines in the Song and Qing Dynasties.From the time effect and space display,from the specific types of stele inscriptions such as font characteristics,glyph structure,stippling line form,chapter layout and other external forms,as well as their internal breath,spirit,spiritual interest,etc.,the calligraphy of metal and stone inscriptions reflects the quiet and lofty,vigorous and vigorous,vicissitudes of life and incomplete,simple and natural,dignified finishing,naive and stubborn and other six main aesthetic characteristics.These characteristics are not only expressed by its aesthetic objects,such as the text form of the inscriptions on metal and stone tablets,and the shape and quality of stippling lines,but also by the content of its text,spiritual connotation and social function value.Aesthetic perspective,ability and aesthetic links,methods and other factors are related.They are formed by a combination of social factors,natural factors,and human factors.Tracing their roots,they are mainly subject to social and humanistic factors,and cannot be separated from the influence of religious etiquette,philosophical thought,political education,Chinese literature,social aesthetic customs and other aspects of Chinese society in the past dynasties.Therefore,the calligraphy aesthetics of Chinese metal and stone inscriptions is a comprehensive reflection of the Chinese aesthetic spirit.