General Theory of Calligraphy

Author: Ding Wenjun
Publisher:
Publishing Date: 2005-05-01
Features: Calligraphy, like other arts, also faces the issue of popularization and advancement. For the broad working masses, the focus is primarily on popularization—mastering basic calligraphy knowledge, selecting one or two styles of regular script or running script, and dedicating effort to practice, which is sufficient for practical application. As for cultivating calligraphy talents to achieve proficiency in the art, it requires a step-by-step, well-planned approach to advanced training to be realized. In feudal society, in terms of social consciousness, feudal ideology always held dominant. Calligraphy, as a product of ideology within the superstructure, was naturally no exception. Thus, in the past, when discussing calligraphy, none failed to regard scholars and literati as the orthodox tradition of calligraphy. As for the ordinary, unremarkable calligraphy of the lower social strata, or nameless craftsmen and calligraphers, even if they possessed outstanding works, few were recognized, leading to their lifelong obscurity. This resulted in calligraphy being monopolized by feudal literati, with learners blindly following suit and echoing others' views. A General Theory of Calligraphy not only acknowledges the role of ancient scholars in the development of calligraphy but also criticizes certain of their erroneous arguments, reflecting the rightful position of the working masses in the field of calligraphy.