Study On Deng Shiru’s Aesthetic Thought Of Calligraphy

Deng Shiru,formerly known as Yan and Zi Shiru,a native of Huaining,Anhui Province,he lived in the Qing Dynasty.Deng was an outstanding calligrapher and seal Carver in the Qing Dynasty,and was recognized as a master of stele learning by later generations.His calligraphy has the significance of summarizing gains and losses and opening up the atmosphere alone.People at that time commented on his calligraphy as “the first of the dynasty”.Deng Shiru from cradle to the grave cloth,making a living by selling letters and engraving,roaming in the north and south,and he leaving behind a wealth of calligraphy and seal cutting works.This paper takes Deng Shiru’s aesthetic thought of calligraphy as the research object,which consists of an introduction and four chapters to explore the connotation and characteristics of his aesthetic thought of calligraphy.The introduction mainly does some preparation,explaining Deng Shiru’s research significance,status and methods of calligraphy aesthetics.The first chapter mainly introduces Deng Shiru’s life and his calligraphy works.First of all,Deng Shiru is a man of flesh and blood.The purpose of studying his life experiences,including his family background,marriage and making friends,is to have a comprehensive understanding of Deng Shiru.Secondly,Deng Shiru’s calligraphy works are the reflection and foundation of his aesthetic thoughts of calligraphy,and sorting out the general situation of his calligraphy works is the premise of studying his aesthetic thoughts of calligraphy.The second chapter studies Deng Shiru’s aesthetic thought of calligraphy.Deng Shiru’s aesthetic thought of calligraphy has two main achievements.One is to put forward the concept of “counting white while blackness”.Its philosophical source is the concept of “being”and “nothing” in Taoist thought.The second is the unity of law and temperament.Deng Shiru’s combination of "law" and "meaning" has its special historical significance,while “law” and “meaning” have inheritance and originality in Deng Shiru’s aesthetic thought of calligraphy.The third chapter is based on Deng Shiru’s calligraphy works,and studies the style characteristics of his calligraphy.Deng Shiru’s calligraphy is ancient,simple and“big”.The formation of these characteristics,on the one hand,is the influence of the aesthetic trend of calligraphy in the Qianlong and Jiaqing periods,on the other hand,is the reflection of Deng Shiru’s pursuit of his own aesthetic ideal and his personality characteristics.The fourth chapter summarizes the historical status and influence of Deng Shiru’s calligraphy.Deng Shiru was the first calligrapher who practiced and embodied the ideas of stele theory after the rise of stele theory.He had the significance of establishing and perfecting the techniques and aesthetic pursuit of stele school calligraphy.