An Analysis Of The Influence Of Wei Bei On The Right-hand Manuscript And The Book

Since the Wei-Jin period, it was the study of calligraphy history pioneered by the "Er Wang" that dominated the calligraphic arena overwhelmingly. During the Jiaqing and Daoguang reigns in Qing Dynasty, however, calligraphy researchers had mostly turned to the research of stone stele which was followed by the occurrence of stone stele study as well as the boom of new theories. This transformation started in the late Qing Dynasty not only produced the reconstruction of perspectives of calligraphy history and theories, but also changed the calligraphy aesthetics, creation ideas and techniques out of all recognition. Since then, the overriding status of stone stele study was swayed, and the calligraphy style in the late Qing Dynasty and the early Republic of China has completed its transformation from a single-paradigm to a multiple one. Yu Youren, born in the late Qing Dynasty, was inevitably influenced by the increasing tendency of stone stele study, which could be felt right through his calligraphic techniques and thoughts.This thesis illustrates Yu Youren's living conditions, his cultural background, personal education and the revolution course he had experienced, and came to a conclusion on how the study of stone stele techniques and thoughts could exert an influence on Yu's regular scripts as well as his semi-cursive scripts. Based on Yu's distinctions in creating the unique stone stele style of regular script and semi-cursive script, this thesis also expounds the contribution as well as influence that Yu Youren had made to modern calligraphy history.This thesis is composed of five chapters. Chapter One is an introduction in which the research purpose and significance, and its status and methods will be elaborated. Chapter Two enumerates reasons for Yu Youren to learn stele inscriptions of the Northern Dynasties and provides a summary. Chapter Three discusses the developing process of Yu's regular script, which was influenced successively by "the study of Bei (tablets)", "the study of Tie (books containing models of handwriting)", and "the fusion of both Bei and Tie". Such a substantial development renders Yu's regular script a sense of stateliness in strokes, extensiveness in pattern and forthrightness in charm. Chapter Four explains how Yu Youren "semi-cursive scripticism" the original stele inscriptions of the Northern Dynasties. By drawing its advantages, Yu assimilated the features of regular script, semi-cursive manner, seal character and clerical script together, forming a unique style of recreating stele inscriptions coupling openness with closeness, hardness with softness, motion with quiescence, and composure with raciness. Chapter Five sums up Yu Youren's contribution to the development of regular script and semi-cursive script, and appreciates the far-reaching impact that his writing had wielded on later generations. It is fairly to say that Yu Youren has set a good example for modern calligraphy scholars.