Research On The "Yun" Theory In Calligraphy Of The Northern Song Dynasty

The Northern Song Dynasty is an important transitory period in China history as well as in Chinese calligraphy. The calligraphers of the Northern Song Dynasty, led by the great four calligraphers, create their peculiar writing style of that particular historical period by paying attention to"Yi"in practice and laying emphasis on"Yun"in theory."Yun"is the category of the classic literature and art characteristic of Chinese flavor. In the history of Chinese literature and critics, the meaning of"Yun"varies accordingly, which makes it of necessity to sort out the uses and implications of it. Only in this manner can people understand the role played and influences exerted by"Yun"of Northern Song Dynastyin the overall"Yun"regime.From the perspective of the history of great Chinese culture and calligraphy, the article aims to draw an outline of the"Yun"Theory in Calligraphy of the Northern Song Dynasty, with"Yun"as its core. And a lot of methods like literature collection, features induction, analogy and comparison will be adopted thereinafter. The thesis is to incorporate the relevant or contrary categories and allegations concerning"Yun"in the theory of calligraphy during Northern Song Dynasty into so-called the"Yun"Theory in Calligraphy of the Northern Song Dynasty, which is championed by Su Shi and Huang Tingjian. In turn, the thesis is to summarize the spirit of that age and its cultural teachings. The article puts the theory under this transitory period of Northern Song Dynasty, which contains a wide range of factors, including political, economic and cultural ones. And the author strives to analyze the underlying reasons that gives birth to the cultural phenomenon. The thesis makes a summary of the characteristics of the the"Yun"Theory in Calligraphy of the Northern Song Dynasty: First, the highlighting of individual consciousness and expression of individual thoughts; Secondly, the reflection of the spirit of the times and its cultural connotations; Thirdly, the observance of the rules of calligraphy and the emphasis on innovation and creation. Then, the thesis undertakes to analyze the formation of this theory from three aspects- the calligraphers themselves, the calligraphy itself and the art involved in the works. It should be pointed out that the"Yun"Theory set up by the calligraphers of Northern Song Dynasty is successful, for it exerts significant influence on the creation of calligraphy works by their contemporaries and descendants both in theory and in practice. Through careful observations, the findings on the traits and causes of the"Yun"Theory in Calligraphy of the Northern Song Dynasty will be of instructive meaning for the development of relevant artistic theory and practice in the modern times.The thesis divides into three parts, and the first part deals with the evolution of the"Yun"Theory in history, chronically containing three phases. The first phase involves"Yun"Theory prior to Wei and Jin Dynasty, when this theory starts mainly with the elaboration on the harmony of sounds, then proceeds to the aesthetical assessment of human bodies of Person Appraisal in this period. The second stage begins from Northern and Southern Dynasty to Song Dynasty, and the"Yun"Theory in this period comes to be applied in artistic criticism, such as calligraphy, painting , poems and songs, etc. What is more, these branches interacts with each other. In the third period----Ming and Qing Dynasty,"Yun"Theory strikes people with its new concept----"poetic charm"says. As the epitome of the previous"Yun"Theory, the"poetic charm"Theory has become the highest criterion for evaluation of artistic works in the classic artistic theories. This part of the thesis throws light on the"Yun"Theory of the Northern Song Dynasty, for it plays a role in connecting the preceding and following. And the thesis also voices the influence of the"Yun"Theory in Calligraphy of the Northern Song Dynasty on the relevant concepts. In the second part, the author sorts out different explanations of the"Yun"Theory in Calligraphy of the Northern Song Dynasty and summarizes its basic traits. The works of the leading calligraphers, namely, Su Shi, Huang Tingjian and Fan Wen, best represent the"Yun"Theory of the Northern Song Dynasty. Su Shi sings highly of the works of Zhong You and Wang Xizhi, views"Xiao san and jian yuan"---- the traits in the calligraphy works of Jin Dynasty as the basic requirements in his"Yun"Theory. Huang Tingjian has more versions of"Yun"Theory, and is more conscious in forming his own system of theory, by propagating his"Yun Sheng"and recommending Su Shi's works as the representatives of his"Yun Sheng". Fan Wen expounds on the theory of"Yun"in the chapter of"Yun"Theory in his works-Qianxishiyan, which is the highest common yardstick for judging all kinds of artistic works and carries forward and analyze Su and Huang's theory in an all-around way. His works are, in turn, seen as the encompassing literature of the Northern Song"Yun"Theory. The contemporaries like Cai Xiang, Mi Fu and Huang Bosi also show in their works the preference for"Yun". On the whole, the traits of the versions of t the"Yun"Theory in Calligraphy of the Northern Song Dynasty are as follows: First, all the calligraphers give priority to the rights endowed by Heaven and their self value, showing the great concern for human beings; Secondly, they criticize the common customs and display the tendency of being intellectuals of the Northern Song"Yun"Theory; Thirdly, they lash out vehemently at the calligraphy works of Tang dynasty, and express their concerns for"Shangyi,Bianfa". The last part seeks to analyze the reason for the formation of the"Yun"Theory in Calligraphy of the Northern Song Dynasty. First, the article analyzes the historical background which the masters of calligraphy are under. Centering on the overall political and cultural environment, the thesis starts its analysis by displaying the predicament where the calligraphers of the Northern Song Dynasty are in. That is, they face both the politically relaxed environment, relatively favorable treatment and, at the same time, the suppression from the imperial power and fights of different political blocs. Culturally, they are influenced by the thoughts of Zen of Buddhism and the folk culture, which make them even more successful in uttering their own voice of the times. Secondly, this part analyzes this cultural phenomenon through studying the rule governing calligraphy. By comparing calligraphy works of the Jin and Tang Dynasty, it shows the inevitability of Northern Song's calligraphers'emphasis on"Yi"in practice and"Yun"in theory. The tendency for"simplicity"or"rule", respectively advocated in Jin and Tang dynasty, is the results of fine combination of both calligraphy itself and the spirits of the times, while the calligraphy in the Northern Song Dynasty faces challenges and opportunities different from the preceding dynasties. Both the negation of the Tang's practice and the affirmation of Jin's"Yun"Theory are the accomplishments of the calligraphers in Song Dynasty, which are made in accordance with the evolution rules of calligraphy and their own practice. The final part studies the influences on the theory and practice of calligraphy in the Northern Song Dynasty, exerted by the shifting roles such as painting, literature and poetry, due to the complicated and over-lapping cultural identity of Northern Song's calligraphers. These influences are interacted and interconnected with the factors that give rise to the birth of the"Yun"Theory in the Northern Song Dynasty.