Study On Aesthetics Wang Sengqian Book

Wei-jin,northern and southern dynasties is a special period in the history of the developmentof Chinese art.After sedimentation and evolution of qin,han.Chinese art in wei-jin,northern andsouthern dynasties have became to be full conscious.For calligraphy,wei-jin,northern and southerndynasties is the golden age in the development of calligraphy art.The styles are rich and there weremany theorists of calligraphy theory.The research on calligraphy theory has become more perfectthan ever.Establishing the basement of Chinese calligraphy techniques and theories.Wei-jin,southern and northern dynasties should be strictly divided into two separate periods,and the two periods of calligraphy art development has showed the evident difference.Thenorthern and southern dynasties belong to the art of calligraphy"holding"period If the wei-jinperiod relatively belongs to the"pioneering period"of calligraphy art.Qiliang aesthetics ischaracterized as a representative of the culture in the Southern Dynasty.It is also the importantperiod of the Chinese classical aesthetics’s development after wei-jin.Qiliang era is very importantfor the development of calligraphy art,It mainly displays in the establishiment of the theories andleading to the development of calligraphy art.Chinese calligraphy theories in this era has becameto be full conscious and it has its own field of theories’s studying.Wangsengqian is therepresentative of this period. He is considered to be the first truly calligrapher in ancientChina.The main themes of Chinese calligraphy theory is derived from his theories.He is a pioneerin the theories of Chinese calligraphy.We should study his theories deeply and sufficiently so thatwe can make the research of Chinese calligraphy theories more perfectly.This paper upholdsexactly this attitude and expand the discussions on the basis of it.In this paper,the first chapter introduces the origination of his theorise.For example the familybackground,political status and the family religions,etc.These are very important to thepropagation and formation of his calligraphy theories.The second chapter introduces his main viewpoints and aesthetic tendencies.From a macropoint of view,Wang Sengqian’s theory was built around his view of"form-spirit"about calligraphy,involving many aspects of the creation,evaluation,nature,etc.The view of“shencai”was the core ofhis theoried which reflects his choice of calligraphy’s formation and spirit.The specific narrative isdivided into three parts: The first part mainly discusses the core of his theories-"shencai"view.Analyse the maincontents simplely first.And then discusses the social culture,religious background which resultedin the appearance of his theoies.Revealing that his theories had set the standards of calligraphy insouthern dynasty.The second part mainly discusses his tasting standards which derives from his"formation andspirit"view-"nature" and "effort"view. Revealing the dialectical relationship between the two areas.This view is echoes with the "shencai"view.Development of Chinese calligraphy techniquesprecisely in line with the dialectical movement of the shift between these two areas and therelationship between the two issues discussed in particular is still pending.The third part mainly explains his view of calligraphy essentialism view which derives fromhis"formation and spirit"view-emotions"and"thought"view. Specifically discussed the connotationof this view.It reveals the essence of calligraphy.Calligraphy is a"significant form"whichemphasizes on the unity of body and spirit."Then this part discusses the innovative value of thisviewpoint that it has upgraded the calligraphy theories to the highly abstract metaphysical theory.The third chapter discussed the impact of his calligraphy and theoretical perspectives to thefuture generations of calligraphers.His explainations of the"formation"and"spirite"view and hisemphsis on the individual"shencai"are very important to the creation of the future calligraphersbeautiful and natural states about aesthetic.Specific discussion is divided into three parts:(1),focusing on the"shencai"for individuals;(2), the dialectical unification of"shape"and"spirit";(3)Reached calligraphy "temperament theory".The fourth chapter discusses the significant meaning of his theories to the future developmentof calligraphy.The final destination of the current theory is that the guidance.I am starting from aspecific creative practice and aesthetic point of view and combining with actual situation of thepresent contemporary calligraphy creation and theory research,respectively elaborates the foursections:(1),the lack of artistic state;(2),ignore the art creation;(3),the imbalance of evaluationcriteria;(4),the bias of theoretical research.Wangsengqian’s theories are also important in ourmodern society.