| In all kinds of Chinese calligraphies, the grass style is the most artistry-loaded one. It originated from Han Dynasty of China. The first appearance of grass style is call grass style of Zhang. This style is so conservative that it cannot demonstrate the splendid characteristics of some romantic artists. Later, the wild cursive created by Zhi Zhang, Xu Zhang and Suchu Huai offered the very way to the romantic artists to express their feelings. And this style was also the first climax of Chinese romantic genre of calligraphy. From then on, Ningshi Yang of the Five Dynasties, Fu Mi and Tingjian Huang of Song Dynasty all made consistent efforts to the development of the grass style, but the most stunning development of it should be owned to the Ming Dynasty, especially the late Ming Dynasty. The comprehensive study of the grass style began in the middle of Ming Dynasty and reached the historical climax of romantic calligraphy with the appearance of a group of romantic calligraphers represented by Wei Xu, Ruitu Zhang, Jingfeng Zhan, Daozhou Huang, Yuanlu Ni, Duo Wang, Shan Fu and Da Zhu.Purpose of the study:This study focused on the emergence and development of romantic genre of calligraphy .when it reached its crest. Through 'the tentative study of the definition of romantic genre of calligraphy and western culture, this paper demonstrates a clear historical development of the romantic genre of calligraphy in late Ming Dynasty, and accurately discovers the characteristics and complicated reasons for the birth of it. It is hoped that this study can give prominence to the historic status, aesthetic significance and enlightening function of the romantic genre of calligraphy in late Ming Dynasty Study method: Comparative analysis The new idea and conclusion of author:1) The author carried out a textual research into the essential significance of Romanticism and into the possibilities of romantic genre of calligraphy. In addition, the author also pointed out that Romanticism can be used to sum up the esthetic style of late Ming Dynasty, which made the name of romantic genre of calligraphy seems natural.2) The author carried out a systematic research into the cause of formation of romantic genre of calligraphy, especially the embedded study of calligraphic works and calligraphers themselves.3) The author carried out a tentative research of complicated relations between the romantic genre of calligraphy of late Ming Dynasty and people' s minds and characteristics. The reason is that calligraphic works of true calligrapher must aim at people and society. They can go deeply into people' s souls and demonstrate people' s true feelings.4) In this paper the author gave a clear study of the historical development of the romantic genre of calligraphy and then drew a conclusion about the origination of it which is different from the eldership and the contemporary researchers. The author pointed out that the romantic genre of calligraphy of late Ming Dynasty was not led by Xian Wang and affectedby psychology which was believed by most of the other researchers. In the author' s point of view, it had a much earlier origination in the sculpture characters of the Spring and Autumn Epoch and the Warring states.5) The author affirmed the historic significance and artistic contribution and pointed that the romantic genre of calligraphy had enriched and perfected aesthetic system of Chinese calligraphy. It was the complement of neutral beauty;, the romantic genre of calligraphy was the representative one of Ming Dynasty;the romantic genre was the regression of artistic calligraphy.6) Through the longitudinal comparison of the romantic genres of calligraphy,the author indicate that the modern calligraphy pays much attention to form and method and neglect the content and spirits of this kind of art. The author, pointed that the only way to produce touching calligraphic'works is to merge personal experience with aesthetic emotions of creation. |
