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Su Shi (蘇軾) (1036-1101) lived during the Northern Song Period when there was a structural change in various fields: politics, economy, and culture. The Northern Song Period came after the turmoil called the "Tang-Song Era of Change"which lasted from the late Tang Dynasty and Five Dynasties to the Song Dynasty. There was a big change in calligraphy called "calligraphy with representation of ideas" which is distinguishable from the conventional type of cal1igraphy.
Noblemen appeared as a class for a new cultural center in the Song Petiod. They showed great interest in paintings by literary artists and calligraphy. In particular, they focused on calligraphy in which they could express cheir aesthetic will and taste with their individuality. This style of calligraphy in the Song Period is called "calligraphy with representation of ideas."
Calligraphers of the Song Period were famous for their strong creativity and newness. Particularly, Hwang JeongGyeon and Mi Fu as well as Su DongPo pursued calligraphy of their own styles rather than those of the two Wangs (Wang XiZui 王羲之) and Wang XianZui (王獻之) The Wangs' styles of cal1igraphy recommended by the Emperor were right and sophisticated. The difference between the two styles of calligraphy was explained as conflicts to gain political and artistic hegemony. The Wangs' styles followed the emperors' calligraphy policies to expand their influences and compliance with them while those of the noblemen were to escape from them.
Su Shi stressed "new meaning" to develop "calligraphy representing ideas" and regarded "learning the old" important as a way to fulfill calligraphy representing ideas. He also emphasized examining the innermost "nature of things" rather than outward "form". He argued for the process of moral training (learning the old) which leads to representing ideas which leads to creativity and newness. Through this process, mind and writing could be harmonized, and Su Shi fulfilled the "unity of mind and writing" to express his free individuality. Based on "calligraphy representing ideas"and his calligraphy theory DongPo could escape from the emperor's calligraphy policy.
Noblemen appeared as a class for a new cultural center in the Song Petiod. They showed great interest in paintings by literary artists and calligraphy. In particular, they focused on calligraphy in which they could express cheir aesthetic will and taste with their individuality. This style of calligraphy in the Song Period is called "calligraphy with representation of ideas."
Calligraphers of the Song Period were famous for their strong creativity and newness. Particularly, Hwang JeongGyeon and Mi Fu as well as Su DongPo pursued calligraphy of their own styles rather than those of the two Wangs (Wang XiZui 王羲之) and Wang XianZui (王獻之) The Wangs' styles of cal1igraphy recommended by the Emperor were right and sophisticated. The difference between the two styles of calligraphy was explained as conflicts to gain political and artistic hegemony. The Wangs' styles followed the emperors' calligraphy policies to expand their influences and compliance with them while those of the noblemen were to escape from them.
Su Shi stressed "new meaning" to develop "calligraphy representing ideas" and regarded "learning the old" important as a way to fulfill calligraphy representing ideas. He also emphasized examining the innermost "nature of things" rather than outward "form". He argued for the process of moral training (learning the old) which leads to representing ideas which leads to creativity and newness. Through this process, mind and writing could be harmonized, and Su Shi fulfilled the "unity of mind and writing" to express his free individuality. Based on "calligraphy representing ideas"and his calligraphy theory DongPo could escape from the emperor's calligraphy policy.
목차
1. 緖言
2. 書藝背景
3. 尙意的 書論과 批評
4. 結語
Abstract
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