Stay On The Calligraphy Critical Terminology Of Xuan He Shu Pu

Since the Northern Song Dynasty, calligraphy was not one itemin the examination for official election any longer. The intellectualwas thus absorbed into the articles and poems. Therefore, theliterary circles flourished while the calligraphy became unpopular.Those literati and officialdom took the calligraphy as a kind ofgracious liking and then through it cultivated their moral character.In addition, owing to the special political system of civil servantsin the Northern Song Dynasty, colluded and jostled for their owninterests. In this situation, they admired for the freedom of theliterati and officialdom in Wei and Jin Dynasty, who releasedthemselves from the thirsty of money and power, liked reading andgained super talent. On the other hand, they looked down upon thosewho wasted their learning and seeked for high official positions andriches. This kind of thought was reflected in the calligraphy asfollows. One is that they liked Xiaosan and Jianyuan in thecalligraphy of Wei and Jin Dynasty and its Qiyun from humantemperament and graceful manner. The other is that they realized thelack in knowledge and quality of the literati and officialdom in theirtimes. Therefore, it was inevitable that they valued the calligraphyupon the moral standard beyond the artistic valuation. The study ofthis paper concentrates on XuanHeShuPu. This paper analyzed someterms valuing the calligraphy, set up a vocabulary pedigree with 62Quality, Yun, Qing and Shen as a core and thus the fashion of thecalligraphy in the Northern Song Dynasty was illustrated. Through the analysis on Xinhua, Xiongci and Shujuanqi in theXuanHeShuPu, Chapter I showed the appreciation standard beyondartistic valuation added to the calligraphy critics in the NorthernSong Dynasty. It directed connected the thoughts and morality of thecalligraphers with the calligraphy to make an evaluation and thenconstructed a theory that the handwriting mirrors the calligrapherin the Song Dynasty. It was not important for the calligraphy to befine or not. It had become the symbol of human morality and quality.Chapter I is the key part of the paper since the fashion of valuingthe calligraphy according to calligrapher,s quality of the SongDynasty appeared frequently in the calligraphy appreciation and thusinfluencing other calligraphy evaluating terms. Chapter II takes Yun as kernel word and a series of terms, Fengyun,Qiyun, Yunsheng, Yuanyun, Bingyun and Suyun are subsequently created.During the appreciation of the calligraphy of Wei and Jin Dynasty,Yun, Fengyun and Qiyun are applied, from which it is reflected thatthe literati and officialdom in the Song Dynasty had the liking ofthe calligraphy in Jin Dynasty and praised their vitality. At thesame time, since the knowledge and quality of the literati andofficialdom in the Song Dynasty were not as good as those in JinDynasty, moral, ethical and learning factors were infused into aseries of evaluation terms of Yun which were thus enriched. 63Chapter III created a series of terms with Qing as the core, whosemeanings were more comprehensive. Qinqu meant delicate form of thecharacter. Qinjin showed vigorious and forceful calligraphy.Qingxian meant free form of the character. Qingyuan meant learningthe calligraphy from the predecessors. Qingzhi and Qingyue reflectednoble character of the calligrapher. Qing was closely related notonly with the calligraphy, but also with the human character. In Chapter IV a vocabulary pedigree with Shen as a core was setup from which it could be concluded that the Song Dynasty was a turningpoint in the history of calligraphy. Before Tang Dynasty, Shen wasin a remote and mysterious state.A phrase for," absolute being" is establish Ci Qun Pu Xi(词群谱系)and can make the on behalf of Sung been clear at a glance in thecalligraphy the twist on the history position .Before Tang, the "absolute being" ha...