A Comparative Study Of Ni Zan's Calligraphy And Painting Inscriptions And Daily Writing Style

Ni Zan is a representative figure of recluse calligraphers in the Yuan Dynasty,with high artistic attainments.His achievements in calligraphy are also high,but his book name is often covered by the painting name,and his calligraphy is deeply rooted in Chinese traditional culture,with a high ancient and quiet atmosphere.This paper not only analyzes his calligraphy,but also compares his two types of calligraphy style.Ni Zan’s calligraphy is divided into two types: calligraphy and painting inscription and postscript and daily writing.When comparing the two different types of Ni Zan’s calligraphy,the logical arrangement of ideas is as follows: first,divide Ni Zan’s calligraphy and painting inscriptions and postscripts by stages according to the characteristics of calligraphy style and techniques,and analyze the representative works in different periods;Secondly,it analyzes Ni Zan’s poems and letters by stages,and makes a preliminary textual research on some works without a clear chronology;Third,compare his calligraphy and painting inscriptions and postscripts with his daily writing in terms of time,and analyze them from the perspectives of diction and content,stroke,calligraphy and composition,in order to reach a relatively accurate and reliable conclusion;Fourth,according to the results of the comparison between them,this paper analyzes why Ni Zan’s calligraphy and painting inscriptions and postscripts are different from those of daily writing in different periods,and why they converge in the late stage;Fifth,Ni Zan’s calligraphy is rooted in Chinese culture,and his calligraphy has both contemporary so-called creation and daily writing,and he has achieved a relative balance between creation and daily writing,which provides a good and direct example for contemporary calligraphy practice and has a good reference significance.Combining his calligraphy with his life experience and thought to make a vertical and horizontal comparison of his calligraphy,we will find that Ni Zan’s calligraphy is not only practical,but also can see his different external forms of expression under the changes of his thought in different periods and the same period.This has a lot to do with his state of mind.Ni Zan’s daily writing is freely sprinkled.Although it can not be called his highest level calligraphy work,it can integrate the law into the impossibility,showing his most real writing state.In the calligraphy and painting inscriptions and postscripts,he respectfully and elegantly maintains a state of essence,but in the middle and later stages,the calligraphy style of the two is consistent.At this time,for him,calligraphy can always be in the moment and pay attention to his heart.At this time,calligraphy is intended to play the most free state.His ideology was occupied by Confucianism,Buddhism and Taoism,and gradually returned to the most real state of himself under the opening of the three ideologies.Ni Zan’s style of writing is like his character,which is as faint as fairy dust,and there is always endless meaning of taste in the quiet.This is because he made no secret of it,and then reflected his true self.This paper also aims to restore the most real feelings in Ni Zan’s mental process of calligraphy,return to the essence of calligraphy and experience the root of Chinese culture with the help of his different calligraphy features and ideas.