Su Shi

Author: Su Shi (Northern Song Dynasty), Calligraphy by Zhao Quanli
Publisher:
Publish Date: 2004-03-01
Features: Since the birth of Chinese characters, calligraphy has existed in China. Humans have always created the world according to the laws of beauty from the beginning. Ancient oracle bone inscriptions and bronze inscriptions left behind an unparalleled beauty due to their unique material conditions and brushwork structures. Later generations' pursuit of calligraphic beauty became conscious, infusing it with artistic elements that predecessors had not. However, this does not always mean constant surpassing, nor is it necessarily comprehensive. Due to the inherent characteristics of calligraphic art, evaluations of it have often relied on overly abstract and uncertain terms. This can even be linked to the ambiguity in Chinese linguistic habits, but it is also inseparable from the abstract nature of Chinese calligraphy. Additionally, traditional calligraphy history tends to focus on master-disciple relationships when discussing specific schools or styles. While discussing master-disciple relationships is necessary, it sometimes becomes overly simplistic, falling into linear thinking patterns. This can inadvertently constrain creative consciousness. In terms of its practical significance, we should strive to study artists and their works from multiple perspectives, doing better than the ancients. We should view the entire activities of a specific calligrapher as a manifestation of both social essence and the essence of calligraphy itself. Contemporary calligraphy has entered a historically unprecedented situation. On one hand, material conditions have changed the writing conditions upon which calligraphy depends. On the other hand, calligraphy has flourished within a limited scope, stubbornly surviving. Our stance undoubtedly must be that of a promoter of calligraphic prosperity. Contemporary calligraphers, facing the dilemmas of engaging with the times and exploring the future, seek inspiration from theoretical and historical research. This inevitably gives calligraphy history a contemporary nature. It is not about arbitrarily altering history but rather summarizing patterns from the past to explore new life and vitality.