On Calligraphy Criticism In The Liu Song Dynasty

In the period of the Liu Song Dynasty,with the reversal of social class and the mixing of Confucianism,Buddhism and Taoism,people’s mentality and aesthetic taste changed.Its literature and art not only inherited the Eastern Jin Dynasty,but also created and bred the new style of the Southern Dynasty.In terms of calligraphy,the Eastern Jin Dynasty created a peak of calligraphy art,while the Southern Dynasty realized the self-consciousness of calligraphy theory.Under the special background of The Times,calligraphy criticism in the Liu Song Dynasty has made many achievements in the aspects of aesthetic thought,criticism mode and style,which has made a key preparation for the self-consciousness of calligraphy study,and has an important guide and exploit for the development of calligraphy study.This paper focuses on tracing the origin and the current from the perspective of thought and aesthetics,analyzing the features of the interaction between literature and art and its criticism,thus analyzes and discusses the calligraphy criticism of the Liu Song Dynasty on multiple levels,in an effort to fully and objectively present its features and historical value.The introduction part of this paper summarizes the background and achievements of calligraphy criticism in the Liu Song Dynasty,lists the relevant research achievements in the current academic circle,and presents the aim and significance of this paper.The first chapter analyzes the background of calligraphy criticism in the Liu Song Dynasty,which is the social,ideological and cultural factors such as the change of political power and the confluence of the three thoughts.The second chapter specifically analyzes the aesthetic trend of the criticism of calligraphy in the Liu Song Dynasty.It can be divided into three parts.The first section analyzes the reasons and specific manifestations of Wang Xianzhi’s calligraphy in this period,combining with the aesthetic tendency of paying attention to lyric and formal aesthetics,advocating new changes and beautiful and charming style,and presents three-dimensional the aesthetic characteristics of this period,which is different from other periods in the history of calligraphy in which Wang Xizhi is honored as the "Sage of Calligraphy".The second section elaborates the problem of the relationship between form and spirit in the calligraphy criticism of the Liu Song Dynasty.The third section introduces the connotation of the theory of "fat and thin".The third chapter explores the ways and styles of calligraphy criticism in this period.It is divided into four parts: The first section analyzes Yangxin’s criticism of calligraphy history and the criticism of calligraphers;The second section analyzes Yu He’s criticism of calligraphy affairs and his criticism of character.The third section introduces Bao Zhao’s Ode to Calligraphy with Poetry and Wang Wei’s Comment on Painting with Calligraphy;The fourth section discusses the origin and influence of the criticism style of this period.The fourth chapter discusses the historical position of calligraphy criticism in the Liu Song Dynasty.The first section discusses that the beauty of beautiful and charming becomes a pole of the aesthetic,and finally harmonizes with the beauty of the character to form a neutral aesthetic tendency of the calligraphy.The second section discusses the direct influence of the changing calligraphy consciousness on Southern Qi Dynasty,as well as the persistent problems of ancient and modern in the history of calligraphy criticism.The third section discusses the forerunner significance of calligraphy criticism in the Liu Song Dynasty for the "form and spirit concept";The fourth section discusses the originality of the calligraphy evaluation paradigm in the Liu Song Dynasty,which was developed and mature in the Liang Dynasty and influenced the history of calligraphy criticism for more than one thousand years later.