The Calligraphy Study Of Zheng Xiaoxu

Zheng Xiaoxu, a controversial figure in modern Chinese history, had attainedtremendous achievements, despite of his frustration in political career. Currently,research on Zheng’s calligraphy is still at its preliminary stage. Therefore, the paperexplores further the relative issues on Zheng’s calligraphy in the basement of existingtheories. This paper is composed by three parts.Part I introduces his life and calligraphy exchange. On one side, the author teasesout the origin of and briefly discusses the success on poem, painting and seal cutting,as well as his calligraphy exchange which lays the foundation for his calligraphy art.Part II investigates the practice in calligraphy. He was good at writing all formsof Chinese calligraphy. He could cut both big and mini seals, but was best at mini-seal.He especially laid stress on li calligraphy, advocating li be plat and square. Heattained the highest achievement in Xing style. This session discusses the tabletcalligraphy and hardwood calligraphy and gives a general account of theories of tabletand hardwood calligraphy, in recognitions of his great success in Xing calligraphy.Ultimately, it delves into Zheng’s cursive theory which is not his focus; however,valuable points may be drawn from his comments on calligraphy.Part III discusses the calligraphy theories based on the elegant-vulgar theory atthe core. This chapter is divided into two sessions. The first session distinguishesrefined and vulgar calligraphy and illustrates Zheng’s vulgar categories of works. Thenext session discusses that to Zheng emphasized on how to get free from vulgarity toelegance. This theory is analyzed from four aspects in terms of and modeling formerpainters and creation, knowledge, personality, and emotion. Elegant works requirecreative skills firstly, while learning from the ancient masters. Reading more helpsyou to be knowledgeable. To replace evil qualities with Righteousness helps tocultivate good personality.The key lies in cultivating awe-inspiring righteousnesswhich reins the calligraphy skills. Thus emotion is released unbidden from his pen.His theory of discarding vulgarity is worth deeper study.Overall, in the principle of not laying aside the book because of the author, thepaper probes into his calligraphy practice and theories to a certain degree. Withnumerous extensive comments on Zheng’s works, as well as limited knowledge andenergy, the study still lies on the surface of this topic and further study is needed.