Air And Momentum Of Figure Cursive Style Of Calligraphy In Zhang Ruitu

The late Ming period in Chinese history is a bitter experience of the period. On the one hand, vicissitudes of fortune, the number of people involved in this "river of the setting sun", it is also the fate of even the Ming dynasty country Tako, the first death in the volunteer army, and then killed in the Qing; the other hand, the emergence of a large number of outstanding writer, novelist, playwright, calligraphers, etc.. There is the famous late Ming calligrapher Xu Wei, Xing Dong Wan, Zhang Rui map, the ecliptic week, Ni Yuan Road, Wang Duo, Fu Shan, etc., they unconventional, though look different, but the pen reveals the Shicaiaowu, bold vital, Peculiar unrestrained emotion , but it is advertised that individual liberation, about the collapse of segregation in almost all of the Ming dynasty, the complexity of literati generally true reflection of the ambivalence.The late Ming Dynasty is the main characteristic of the times: from the ideology and culture, social order to the state of public sentiment, and other aspects of the world have undergone tremendous confusion and change. During this period, the political emergence of the Jang failed reform movement, the academic world had to Li Zhe's Oh Buddha ancestral curse heresy, the economic seeds of capitalism have brought a money thought……traditional social ethics and values are unprecedented challenges. Of course, the time in popular Buddhist literati style, stands for "My Heart Is Buddha", "Foji my heart," the pursuit of natural interest in philosophy of life, has become the rational life literati sentiment, which can not be ignored historical reality.Their artistic ideals and the prevailing social trend is the same, exactly, this is the prevailing social trends in art projection. The picture shows the representative with Zhang Rui "s individuality," "passionate", "happy to rebel" groups in the late Ming calligrapher, as if there is a tremendous energy to break through the heavy block out the eruption, so Peculiar implication, the ups and momentum into the late Ming style of the main features of the book. This third part describes the method of Zhang Rui books written today altar of enlightenment, and pointed out the characteristics of the times book style construction and social development of the relationship. The so-called era of calligraphic style that embodies the overall spirit of that era calligraphy style book face. Style calligraphy of an era formation and social development are closely related.Finally, talked about the relationship between inheritance and innovation, and in succession on the choice of traditional calligraphy. Inheritance and innovation, the arts development in the dialectical unity of two aspects: inheritance is a contemporary art of the past times some or all of the links arts, contemporary art should be art of the past era in the experience, tradition basis for the development of human beings to achieve the continuity of aesthetic development; artistic creation, is the content and form of contemporary art in the past two aspects of artistic innovation and development, creating a contemporary expression of new content, new forms of new art. Inheritance and selection of calligraphy, calligraphers can not do without the background of the times, including the then socio-political environment, cultural philosophical basis, economic and military strength, and the people of various combination of factors such as secular habits. At the same time, it can not do without a calligrapher's theoretical knowledge, moral cultivation and calligraphers personal interests. But the most important thing is to find a tradition and innovation, individuals and the times of entry points. Zhang Rui plan is significant not only because he created a distinctive personality Ming calligraphy style, but also that it provides the way to innovative ways - mining tradition, individuality and aesthetic thinking of the times.The thesis is divided into three parts: the first part of the general spoke to the representative of the late Ming Zhang Rui photo book at home group, the late Ming era book winds and wind characteristics of their respective books. Which focuses on Zhang Rui map calligraphy style and artistic achievements, and their late Ming calligrapher and book the impact of the wind. Jui Ming calligraphers map as a member of the group, not only single standard style, but also demonstrates the aesthetic taste of the times, enough to shine through the history books, the glory. Zhang Rui map created by ups and downs of the "Peculiar" book style, there is a pressing of the "momentum", it abandoned and in, for poise and specifications, composition and fragmentation interjection side, pen and ink-with the Games, breaking the "possession of the end of the first nursing "" Pingzheng stable "and other laws of formal beauty, the indulged, edges and corners and reveals; layout does not seek balance and harmony, but the vertical and horizontal cross, scattered scattered chaos. Zhang, Huang, Ni, Wang, Fu and others not only the external form (the form of pen and ink), but also the charm of convergence has emerged on the aesthetic pursuit - "momentum."The second part of this thesis, describes the scope and potential gas and formation mechanism. On "gas", the ancients wrote books, discussed a lot, but its meaning in the painting field confined to the following three aspects: first, heaven and on earth really is irritating, also called "vitality"; second, the artist's love of gas , Nature reveals in the air of the past, you can call it emotional (also called psychological temperament); 3 is shown in pen and ink works in the air, that document love interest in Mexico, including the lines of rhythm, tone and so on.In one work, these three are often inseparable. When the book (drawn) Writers continue to be that when the ink image and style, composition and organization of writing unified, calligraphy works in this process is likely to form a "gas and the potential formation mechanism." Potential in the gas and the unity of the Mao Dun (the organization of writing or composition), gas always dominates the situation, there is no gas there is no potential; potential always embodies the gas, there is no situation you can not make people feel the presence of gas.Any time in history features are very distinctive art of calligraphy: "Three bones and bronze inscriptions of the Lv Yi and Pu Hou, Han's forceful and along with the unique, Rubbings of the broad and strong male, Jin Wen Tong and elegant man, regular script and the Tang DynastyCursive's careful and precise with the bold, heavy Italian Song, Ming's still state of the late Qing Dynasty in the revival of stelae, the Republic of China to the 20th century combined 80 years of rubbings can be said that an era has a distinct era and unique artistic pursuit The artistic characteristics. "Throughout the ages, on the momentum inherent in the art of calligraphy, people sincerely admire. Can be said that any one of the world, so the Chinese nation have not yet, "Air", from Mencius, "Noble Spirit" then, "'Air' has become a leading Chinese culture, important aesthetic category."China today, is in a political, economic, cultural and social aspects of a period of rapid development, "if even the early days, the greater light" (Liang language) has a large revival before the country's accommodating weather. Chinese high morale, self-confidence - a confidence is the return of the spirit of the Han and Tang is old male that the return of a strong sense of national prestige. Work hard should be the mainstream of the spirit of our times, Chong Shangxiong strong, broad momentum should be the priority of our time, the aesthetic pursuit - on the calligraphy work of art, this momentum should be filled in at the stroke line and are reflected in composition and organization of writing among the agitation among black and white space.