| It is difficult for the calligraphy word itself to return back to the former aestheticstandard of classical tradition which has deviated severely in the later Southern SungDynasty due to the skill liberalism of using the brush for the prevailing of Yi. TheCalligrapher Group of Kuizhang Pavilion all approve of the JINYUN calligraphicstyle which is presupposed and regarded as the best aesthetic standard of calligraphyby Zhao Meng-fu. Not only do they take the recurring course of the classical traditioncalligraphic style in practice as their own mission, also they support the retro practicetheoretically by means of holding calligraphic appreciation and collection activitiesfrequently on the calligraphic ideology aspect.From the perspective of the retro calligraphic style and the calligraphic appreciationand collection, this dissertation has a comprehensive study on the calligrapher groupof Kuizhang Pavilion during the Mid-Yuan Dynasty. On one hand, the dissertationpresents an intensive study on the interpretation of the contemporary retro calligraphicstyle which is affected by these calligraphers during the practical recurrence of theclassical tradition calligraphic style, and reveals the conservatism and creativity ofcalligraphy in practice. On the other hand, leading by the appreciation of thecalligraphic appreciation and collection, it also focuses on the influence of theirforming factors of calligraphy ideology and the new change of the calligraphydegeneration history ideology. At the end of the dissertation, it explores theintercommunity among the calligraphy, painting, proem and essays from the broadperspective of the contemporary retro spirit of literature and art, and also introducesthis group’s the substantial efforts during the recurrence of the classical traditioncalligraphic style and the enlightenment that the theoretical origin have brought to themodern calligraphy. |
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