A Research Of Calligraphy In Late Ming Dynasty Under The Influenceof Chany

Buddhism has been introduced into China since the Eastern Han Dynasty because of its superiority of " localization of Buddhism in China".Later,Buddhism chose to combine with Chinese calligraphy and calligraphy inscriptions and gradually grew up in China.Buddhism has always had a close relationship with Chinese calligraphy and is mutually promoting and integrating.As the largest and most influential sect in ancient China,Chan Buddhism reached its peak in the Tang Dynasty and reached its peak in the Ming Dynasty.Although it declined slightly,it was still of great significance to the economy,politics,religion,thoughts and citizens’ life in the Ming Dynasty.During the late Ming Dynasty(1573-1644),from the beginning of the Wanli period of the Ming Dynasty to the Chongzhen period of the Ming Dynasty,there was social change and political depression,but religion and literature and art both showed vigorous vitality in generate during this period.Therefore,it is of profound significance to discuss the influence of Chan Buddhism on some calligraphers with unique styles in the late Ming Dynasty.In the late Ming Dynasty,although the Ming Dynasty had already seen a crisis of rule,social contradictions became increasingly acute.However,calligraphy has shown an unprecedented situation at this time.Some calligraphers have created excellent works of art that conform to the aesthetic development of the times and bear strong personal marks.It is worth mentioning that the book circle in the late Ming Dynasty was influenced by Chan Buddhism and had a different style from that in the early and middle Ming Dynasty.Xu Wei,Fu Shan,Dong Qichang and others,because of their connection with Chan Buddhism,were influenced by their understanding of nature and the realization of Buddha.Their calligraphy works show the characteristics of free will and broad-mindedness,which is the concrete embodiment of calligraphers’ personality liberation in the late Ming dynasty.At the same time,due to the limitation of the times,Chan Buddhism has become the main carrier and important source for artists in the late Ming Dynasty to realize Buddhism.Chan Buddhism and calligraphy in the late Ming Dynasty are increasingly inseparable.However,the similarities between Chan and calligraphy in the late Ming Dynasty can be understood by exploring the life,growth path and artistic activities of calligraphers in the late Ming Dynasty under the influence of Chan.That is,they all pursue a natural,peaceful,peaceful and harmonious attitude towards life.Theirpersistent pursuit of beauty and strong love for life are the same.From this perspective,a correct analysis of Chan’s internal influence and external performance on calligraphy in the late Ming Dynasty is of great benefit to the discussion of life and the realization of its value.This topic is mainly divided into five parts.The first part briefly expounds the developing of Chan in the late Ming Dynasty.This chapter mainly analyzes the text and summarizes the development of Chan in the late Ming Dynasty.It includes the origin of Chan,the development of Chan in Ming Dynasty,specific doctrines and simple classification.It aims to have a clear understanding of Chan in late Ming Dynasty and to use this life to give an opportunity for Chan’s influence on calligraphy in late Ming Dynasty.The second chapter specifically quotes Xu Wei,a famous calligrapher in the late Ming dynasty,to discuss the influence of Chan on him,and analyzes his life,calligraphy theory,calligraphy works and other aspects to explore the complementary relationship between Chan and calligraphy in the late Ming dynasty;The third chapter focuses on the late Ming calligrapher Fu Shan,specifically looking at the influence of Chan on him.It includes the emergence of Fu Shan’s book theory and the achievements of his lower case " Heart Sutra" and " Diamond Sutra";The fourth chapter focuses on Dong Qichang and summarizes the prominent imprint of Chan in Dong Qichang’s life.Among them,Dong Qichang’s " Southern and Northern School Theory"," Elegant" and " Odd as Positive" book theories and the style of Xuan Dan’s empty book are all directly inspired by Chan.The second to fourth chapters are concrete manifestations of Chan’s influence on calligraphers in the late Ming Dynasty.It aims to make a special analysis and discussion on calligraphers with unique style in the late Ming Dynasty from the perspective of Chan.The fifth chapter is actually a general summary of the full text.The macro influence of Chan on calligraphy art in the late Ming dynasty specifically refers to some guidance given by Chan to calligraphers in the late Ming dynasty in ideology,daily life,aesthetics and soul.