A Study On The Relationship Between Calligraphy And Painting In The Epigraphic Painting School

The development of everything is the alternation of prosperity and decline, and the development of art is no exception. Since the thriving of literati painting in Song Dynasty, flowers and birds and landscapes became the main painting subjects, due to the over concern with the cultural quality and the painting skills. Under the influence of Neo-Confucianism and Zen Buddhism, the painting became increasingly concerned about the expression of personal feeling to pursue imagery and individual cultivation. The tendency was expressed as drawing frailty and the peace and tranquility in the pictures. What's more, by Late Ming to Qing Dynasty, the orthodox painting just drew lessons from the ancestors both in contents and forms, and imitation replaced creation, which was a representation of extreme deterioration. Likewise, by Ming and Qing Dynasty, calligraphy lost its vigor under the veil of Palace Writing Style. However, no extreme holds long. At that time, Stele Trend of Thought rose quietly and grandly. The thought which happened in the area of calligraphy gradually evolved to painting, and led painting to a robust and vigorous situation. Under the influence of the epigraphy, the painting with the epigraphic calligraphy is called Epigraphic Painting, which was homologous with calligraphy in the real sense.This thesis first describes the background under which the Epigraphy Painting School thrived-the extreme deterioration of traditional painting and the tendency to Stele writing in calligraphy. The most distinctive feature of this school is that they integrate epigraphic strokes in painting, and the pictures take on a rich sense of epigraphy. This sense comes from the inscribed steles in pre-Qin Dynasty, Western and Eastern Han Dynasty and Northern Dynasties which were worshipped by Epigraphic school, which extends to painting through calligraphy. Therefore, the sense of epigraph is where the key of Epigraphic Calligraphy and Epigraphic Painting lies. As for theory, the thesis analyzes the ways to express the sense of epigraph from the aspects of power and vigor, antiquity and pungency. As for the specific techniques, the thesis describes the expression of the sense of epigraph in stokes, compositions and practices, and then further illustrates the three ways in which the sense of epigraph is expressed in painting: as for techniques of writing, an extension from the strokes in calligraphy to lines in painting; as for brushwork, a turn from the former precise portray to bold lines segmentation; as for ink and color, a shift from the light and full-bodied to the heavy and wanton.The introduction of epigraphic calligraphy to painting is a course of gradual perfection. This thesis chooses representative painters for each stage for description. Jin Nong and Zhao Zhiqian at the early stage had intentionally introduced epigraphic strokes to painting, but writing and painting hadn't integrated yet. Their attempts enlightened Wu Changshu and Qi Baishi who were experts in all the calligraphy, painting and seal-engraving. They opened up the joints among the three and integrated them to a trinity. But they were not the same in the expression of the sense of epigraph. Wu Changshuo started with stone-drum inscriptions, deserted the outward forms and absorbed the quintessence, and formed the vast and sound painting style. On the other hand, Qi Baishi merged the spirit of Han Steles, and formed a robust and pungent style. Pan Tianshou weeded through the old to bring forth the new on the basis of Wu Changshuo, and formed a strong and overbearing style, sticking to the dominating position of traditional painting in new historical situation. But, there are few who can dig deep into the tradition and create new styles after Pan Tianshou.The artistic practice of the Epigraphic Painting School puts the traditional Chinese painting theory into practice. The theory of the common origin of calligraphy and painting had been put forward as early as Tang Dynasty, but it only existed in term of theory, or partially. However, the brushworks of Epigraphic Painting came all the way from calligraphy, hence the common origin of calligraphy and painting. On the basis of the common origin of calligraphy and painting, the lines of calligraphy are infected with the sense of epigraph, and the same brushwork is put into use in painting, hence the epigraphic sense of the picture. That is the detailed embodiment of Shi Tao's theory of Whole Painting. Therefore, the research on the relationship between calligraphy and painting in Epigraphic Painting School is a piece of powerful evidence to painting theory.