History of Chinese Calligraphy: Wei, Jin, and the Northern and Southern Dynasties Volume

Author: Liu Tao
Publisher:
Publishing Date: 2002-12-01
Features: The book A History of Chinese Calligraphy: The Wei, Jin, and Southern and Northern Dynasties covers over three hundred years from the late Eastern Han Dynasty to the end of the Southern and Northern Dynasties. Author Liu Tao did not merely list calligraphic styles and get entangled in the changes and evolution of calligraphic styles and styles during that time. Instead, he traced the roots and explored the historical and cultural background to interpret the flourishing calligraphic styles and the transformations of calligraphic forms, treating it as a comprehensive cultural phenomenon for examination and discussion. Thus, he revealed that calligraphy during the Southern and Northern Dynasties was not only a continuation of the Wei and Jin artistic trends but also an extension of the scholarly and literati culture. As Bao Shichen said, "The Southern and Northern Dynasties placed great emphasis on this art. Those skilled in literature were admitted to the literary circles, while those skilled in calligraphy were associated with minor learning and entered the scholarly circles." This was not only the pursuit of that era but also its hallmark. From the discussions in each chapter of the book, one can appreciate the fashionable world trends of that time and understand the transformations of calligraphic styles implicitly. Just from the sections "Emperors of the Southern Dynasties Valuing Calligraphy" and "Scholarly Calligraphers and Commoner Calligraphers in the Southern Dynasties," such as the establishment of the "Office of Attending Calligraphers," the competition between emperors and high-ranking calligraphers, the rise of commoner calligraphers, and the distinction between scholars and commoners in calligraphy, one can see that the flourishing calligraphic style of that time was not merely a pastime of the literati. It was a trend that spread from the top down, a cultural pursuit. Although it had some drawbacks of affectation or pursuing, it was still elegant and profound. Compared to the vulgar, fawning, and conforming trends that arose from the bottom up, it was far more noble and culturally significant. This book is precisely written with an eye to this cultural landscape of the era. Due to its comprehensive pursuit of aesthetic value, it offers a brand-new aesthetic experience, and the sparks of thought that appear throughout reveal the author's extraordinary depth of reflection. Therefore, it avoids the slow, simplistic listing, display, and explanation of the vast amount of new and old calligraphic materials it cites. It can be said that this is a true cultural history of calligraphy.