The time of publication:2009年11月Press:Nanjing University pressAuthor:Liu CanmingPages:243BookTitle:China modern calligraphy history
Liu Canming China "modern calligraphy history" this book, one might think of this book from the late Qing Dynasty and Republic of China time stage is to the end of the twentieth Century. However, staging the Book Modern History about calligraphy, not so. In fact, this book content time span of 20 years, the development of calligraphy history which is not a general sense of the history of modern calligraphy, because Chinese stage has its particularity. Particularity lies in: a modern history of calligraphy, calligraphy itself must be taken into account in the history of the internal development process, only in this sense, we can judge the calligraphy when entered the modern period, to modern history of calligraphy made staging with facts. This book is written from the perspective of a "modern calligraphy" history. Study the book from its provisions of view, performance for the literature is very rich, this is the advantage of close (of course, study time and distance are also prone to blind spots and misunderstandings), relatively easy to collect data, macro research for the later modern calligraphy based text provides very good. In the field of calligraphy, perhaps some two words of "modern" disgusted, it is those with modern phobia performance. Recently there are some words to express the modern calligraphy. It can be divided into three kinds: the first kind of view: Modern Calligraphy after 20 years of development, has failed. The second kind of view: contemporary calligraphy no modern and traditional branch. The third kind of view: modern calligraphy is still not mature. On the first view, as long as a little bit to see the fact that, modern calligraphy do not fail, and is now spreading and deepening of calligraphy, the fact is like iron generally exist. This book is a case in point. The second view, is actually the development history of lack. Since denied modern, also denied the ancient, modern and ancient because, due to, no modern which have this ancient? If the tradition of modern calligraphy is not divided, so modern calligraphy and ancient. But in fact, even in the Chinese characters as the carrier of modern calligraphy and calligraphy in comparison, from the concept of art form, they behave differently. Visible, traditional and modern are respectively. The third view is in fact the modern calligraphy don't care and the lack of deep thinking performance. Because the modern calligraphy is childish bold move. Also have to think and create deep rich, while the latter is the mature. Of courseThe focus of this book, is not the concept of macro analysis of art history, the reader may temporarily difficult to clear the mature skeleton. However, if we slightly hard thinking, historic breakthrough in modern calligraphy in the form, if not since the Qing Dynasty tablet study way, can not make a reasonable explanation.
"All calligraphy China modern calligraphy history" of "modern calligraphy" is not a modern people, but particularly in 1985 October "modern calligraphy Chinese first exhibition" was different from the traditional calligraphy "modern calligraphy", this is a creative art form. "Modern calligraphy" contains "school" calligraphy, calligraphy, calligraphy, calligraphy, Chinese characters from pioneer art name. The birth of modern calligraphy is not an isolated incident, which is produced in different conditions. For many reasons, but mainly from the historical background, historical background, cultural background and so on. Modern calligraphy survival culture of Confucianism and Taoism, Zen, as the philosophical basis of Chinese traditional culture, China calligraphy a history variable description of the historical inevitability of modern calligraphy. Since the implementation of reform and opening up China, due to the rapid economic development, change people's living conditions, the fast pace of modern life has become mainstream, the reform of the political system has brought people's political life of democracy and equality, political loose, thought liberation, people can think of the past many unimaginable things, reform open opened the door, with foreign culture into modern art forms, external shocks of the China art, have the intense collision of Chinese and Western culture, first in the art world got the response, "appeared in the '85 art trend", affected by the traditional culture of the Chinese calligraphy at himself, ready to make trouble, so the outbreak of the "85 the first exhibition of modern calligraphy China". Modern calligraphy has gone through 20 years of history, in this period of history, modern calligraphy has its originality, development and prospective of social concern, has become Chinese calligraphy history can not erase the modern art form. "The modern calligraphy history" China on this period of history, modern calligraphy history like the calligraphy history, history of inheritance is a modern calligraphy creation, it is a modern calligraphy history of activity, but also a modern calligraphy, calligraphy education theory development history, therefore, modern calligraphy activities, creation, theory and education form a complete modern calligraphy history. This paper attempts to take it as a face, based on the combination of history, to objective data as the foundation to in-depth and detailed analysis and study. Although the history of modern calligraphy is short, but left a very valuable in various forms, rich in content, mature modern calligraphy works for us, produced a large number of dedicated to the development of modern calligraphy calligraphy, the representatives at home and abroad have produced great influence. Reviewing the history of this period, and provides a reference to the road of innovation, as Chinese the modernization process of Chinese calligraphy so, great research value.
The preface, research object and purpose two, research status and analysis of three, research method and way in the first chapter of modern calligraphy has the first of the modern calligraphy history section second modern calligraphy background section third modern calligraphy culture background in section fourth the beginning of the second chapter of modern calligraphy modern calligraphy activities the first of the modern calligraphy exhibition second modern calligraphy organizations and research institutions third modern calligraphy Publications section fourth modern calligraphy exchanges fifth modern calligraphy activities of the third chapter of modern calligraphy creation section Chinese characters picture mode second Chinese characters writing mode third mode fourth festival was Chinese characters disappear Chinese characters device model in section fifth Chinese characters conceptual model in section Sixth Chinese characters behavior model in section seventh Chinese characters image model in section eighth Chinese characters computer model of the fourth chapter of modern calligraphy theory the first of the modern traditional calligraphy calligraphy study the continuation of section second to use the new cultural perspective on modern calligraphy achievements third modern calligraphy other research results of the fifth chapter of Modern Calligraphy Education section of modern calligraphy education the second section of modern calligraphy Spare time education conclusion Appendix A, table two Chinese modern calligraphy, name index reference postscript
Illustration: calligraphy, calligraphy art heritage from generation to generation a cultural connotation of the Chinese nation in the long process of historical development of the continuous accumulation of art treasures, cultural heritage of the search can not be ignored. Has its own rules of calligraphy development from first to last, it must follow the law of development of art, it continues to deny yourself, continue to develop their own, it is rich in tradition and extensive tolerance, its profound cultural background determines the calligraphy vitality, we can put China calligraphy to a towering tree, growth gradually it south of the original tree seedlings, root it more and more developed, more and more exuberant vitality, absorptive capacity is more and more strong. Even if some people have the ability to summon wind and call for rain, China calligraphy this tree still be secure against assault, and expose to wind and rain, because the soil of Chinese culture -- to earn a living at the foot of it. As a form of philosophical basis of Chinese traditional culture of Confucianism and Taoism, Zen thought of calligraphy, cultural connotation and aesthetic standards play a decisive role, the modern calligraphy in the cultural connotation of the level and the traditional calligraphy is come down in one continuous line, the Confucian thought of "benevolence", "nature" in Taoism and Zen's "heart enlightenment thinking" the idea is China calligraphy formed unique aesthetic structure and aesthetics of the cultural core, although modern calligraphy on the cultural connotation of the absorption and traditional calligraphy have different focus (traditional calligraphy more embodies the Confucian thought, modern calligraphy more focused on Taoism, Zen), but the systematic analysis of traditional culture and philosophy basis Chinese calligraphy is conducive to a better understanding of the historical background of the emergence of modern calligraphy. The 1 concepts of Confucian thought of "benevolence" and the art of calligraphy Ru was "scribe" or scholars. Confucius are the founders of the school and the outstanding representative of Confucianism, the core is "the kernel". On the influence of Confucianism on the China calligraphy art, people often ignore these common sense. The most common, is generally used in "adult education, helps the human" to comment on the influence of Confucianism on art, the real impact is not to study Confucius humanity spirit of art. The real lonely L sub artistic ideal is to be practiced and reflected in the self Huairen scholar bureaucrat's art activities, in Chinese long art history, Confucius Confucianism in mature moral rationality, the positive enterprising spirit of entering the world, open-minded life ideal cultivation, infection with artistic conception and practice Chinese paper literati. Its performance in the arts, is more embodied in the aesthetic ideal, aesthetic experience, artistic criticism and other aspects, such as beauty and unity of the good, the good is the core of the courtesy and benevolence, propriety and benevolence and the purpose is to make the world is attributable to treatment, that is in harmony, unity, the doctrine of the mean, which also put forward the "neutralization beauty" requirements for literature and art. Confucius advocate "placid" poetry and "extensive easy good" music education, all this and purpose, the unification of the good and the beautiful, and about to neutralize, fully meet the literary thoughts of Confucian political power as the center, to give the idea of utilitarianism with nature. Confucius day: "poetry can flourish, you can view, you can group, you can complain." This is a "matter of the father emperor" political ethics as a standard, as an aesthetic subject, artists and connoisseurs, must have high moral cultivation, can obtain the aesthetic experience, Meng Ziri: "I know words, I raise my magnanimous goodness." Knowing words including salon, namely analysis, judgement, appreciation, in the Confucian there humanity, justice and morality is good, the aesthetic subject must be "good" in order to obtain the highest aesthetic experience.
"China modern calligraphy history" is published by Nanjing University press.
Liu Canming's "China modern calligraphy history" is the historical data as one of the informative about "modern calligraphy" works. Although bring about dynamic development of modern calligraphy topic difficulty, as well as the differences between modern definition of modern calligraphy and art schools of calligraphy understanding to classification and cause some obstacles, this book is one of the most has the value of academic research on China "modern calligraphy" history record. Believe that for the study of modern calligraphy, and even the study of contemporary art has a certain academic reference value. -- Wang Dongling (Professor of The China Academy of Art, doctoral tutor, Modern Calligraphy Research Center @##@ Diploma)
In 2005, I had the honor to become the The China Academy of Art doctoral tutor Professor Wang Dongling students, which has been divorced from the edge of the calligraphy I had a very good home. The beauty of West Lake, the Academy of fine arts nourish, teachers inspire me before, go to Hangzhou 4 years of study for life. Modern calligraphy has a history of 20 years, during which, groundless talk with vigour and vitality. Professor Wang Dongling stand in the development of calligraphy and academic front, always pay attention to the modernization process of Chinese calligraphy, pay close attention to the development and construction of modern calligraphy, he is deeply in order to make the modern calligraphy into the orbit of healthy and rapid development, it is necessary to trace back the history, research history. The content of this book is based on my Ph.D. dissertation. Tutor of doctoral dissertations and I discussed, naturally put forward Chinese modern calligraphy history topics. And suggested that I choose this topic, therefore, I did a lot of preparation. The authors of the book force hardships, difficulties, which is full of confusion, grasp the mentor, specific analysis often makes me become enlightened at once, click into place. Yan Gongda teacher has been concerned about my PhD study, understand the progress many doctoral dissertation and valuable advice on the paper, said the teacher's affirmation and the support, so that my confidence. Here, thank you very much two teachers care and guidance. The book of literature is very complicated, difficult to collect. The preparation, Pu Lieping, Shao Yan, Tang Kaizhi, a, Wang Jianing gave me a lot of information or provide clues for me, especially the synthesis of Mr. hides the family of all modern calligraphy information (some first-hand information) lend me; my students Hu Guangcan, Zhang Xingxing, Ge Wei, Song Ye so, Shen Li collected a lot of valuable data for my teacher in Nanjing University of Aeronautics & Astronautics library; literature retrieval gave me a lot of help, hereby, also expressed his thanks. Thanks to my students Hu Guangcan, Zhang Xingxing, Song Ye and Zhang Yuanyuan as the handwritten manuscript text input I, especially Song Ye bear almost all the presentation of the typing and correcting basic work, feelingXie Zhang stars for book typography, illustration and printing effort. The famous calligraphy theorist Mr. Wang Baiqiao very carefully for book revision and proofreading, formulating and revising many mistakes, be strict in one's demands of the spirit is worthy of my learning, here, thank you. Thank you Mr. Mao Jianbo for valuable advice book paper. Thank my family for me silently support and dedication. To express our heartfelt thanks for all I care about and support the development of calligraphy leaders, friends and fellow. The book published successfully, thanks to Mr Wei Changjian, because of his introduction, I met Mr. Yang Xiaomin, Nanjing University press book art studio director. Mr. Yang Xiaomin is an influential artist, he for the academic rigor, as people's feelings, artistic sincerity is my study example. The book of the hard and heavy, but also full of hope and happiness. To thank Wei Changjian and Yang Xiaomin the two gentlemen of the book. Chinese modern calligraphy has a relatively short time, is still changing and developing, also need to put in the long river of history to test, to identify its value. This book only do some basic research about modern calligraphy, there are many problems. Here, please expert advice.
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