Recently, the "Chinese Calligraphy History Forum: The Spiritual World of Ming and Qing Literati from the Perspective of Calligraphy History" was jointly organized by Shanghai Painting and Calligraphy Publishing House, Peking University Center for Chinese Ancient History Research, and Peking University Center for Aesthetics and Aesthetic Education. The forum conducted academic discussions on the creation, theory, and related writings and activities of calligraphy and seal cutting in the Ming and Qing dynasties.
The opening ceremony was hosted by Zhu Yanping, Vice President of Shanghai Painting and Calligraphy Publishing House and Editor-in-Chief of Calligraphy Research. Sun Xiaoyun, Chairman of the Chinese Calligraphers Association, Rong Xinjiang, Professor of the Center for Ancient Chinese History Research at Peking University, and Luo Xin, Director and Professor of the Center for Ancient Chinese History Research at Peking University, delivered speeches in succession, congratulating Calligraphy Research on its 45th anniversary. Wang Lixiang, Honorary Editor-in-Chief of Calligraphy Research, and Zhu Liangzhi, Professor of the Department of Philosophy at Peking University and Director of the Center for Aesthetics and Aesthetic Education, delivered keynote speeches at the forum. Huang Dun, Professor of Nanjing University of the Arts and Professor of China Academy of Art, Bai Qianshen, Professor of the School of Art and Archaeology at Zhejiang University, and Peng Feng, Dean and Professor of the School of Arts at Peking University, delivered expert keynote speeches at the forum.
The scene of the "Chinese Calligraphy History Forum"
The theme of Professor Huang Dun's report is "Seal Carvers in the Life of Ming Dynasty Literati". Combining relevant documents on the interaction between seal carvers and literati, Professor Huang discussed the relationship between Ming Dynasty literati seal carvers and seal carvers, the craftsmen in the works of Ming Dynasty literati, the three roles that promoted the development of seal carving art in the late Ming Dynasty, and what literati had done for professional seal carvers. Finally, relevant questions were raised: Did the seal collection of literati seal carvers exist in the Ming Dynasty? Did professional seal carvers like He Zhen and Wang Guan exist in the Qing Dynasty? What was their status? These are all issues worthy of in-depth research.
Professor Bai Qianshen's report was titled "Printing Culture and Calligraphy on Porcelain in the Early Qing Dynasty". The report focused on a porcelain vase from the Kangxi period, exploring the relationship between porcelain and printing culture in the early Qing Dynasty. There are ten poems and a short essay describing Jingdezhen on the porcelain vase. Through textual research, Professor Bai concluded that the short essay was actually the preface of a book, and the title of the book was "Changjiang Juyong". He then speculated that this porcelain was a custom-made porcelain vase or a collection of poems copied by the porcelain maker. The spirit of the literati culture in the early Qing Dynasty was reflected on the porcelain vase of Jingdezhen, and the porcelain vase was "elegantized"; through continuous reproduction, the literati culture was "vulgarized". The complexity and diversity of the spiritual world of literati in the Ming and Qing Dynasties can be seen.
The theme of Professor Peng Feng's report is "On Freehand Calligraphy from the Perspective of Freehand Aesthetics". In the report, Professor Peng proposed that freehand as the core concept of Chinese aesthetics and the main feature of Chinese art may not have become clear until the early 20th century, and then made a structural analysis of freehand in terms of "between" and "outside". Combining classic paintings from China and the West, it is proposed that "between" is a common feature of Chinese and Western art. As for "outside", Western art is basically missing, but Chinese art has a lot of it. In the second half of the lecture, Professor Peng turned to freehand calligraphy, dividing different types of calligraphy into concentrated consciousness and incidental consciousness. Finally, it is pointed out that imitation is an important means to understand the meaning of the calligrapher's writing, and through imitating classics, personality is achieved, and then personality fusion is achieved.
More than 30 experts and scholars from the fields of calligraphy, philosophy, and history attended the forum with their papers. The afternoon discussion was divided into the first and second halves, hosted by Ning Xiaomeng, a tenured associate professor of the Department of Philosophy and director of the Aesthetics Teaching and Research Section of Peking University, and Shi Rui, an associate research librarian of the Center for Research on Ancient Chinese History of Peking University, respectively, and academic reviews were conducted by Professor Bai Qianshen and Professor Zhu Liangzhi.
Professor Bai Qianshen pointed out in his comments that the speeches of the scholars have made useful explorations into the daily life and spiritual world of the literati in the Ming and Qing dynasties. For example, the research of Zhang Jinliang and Cui Shuqiang presented the internal factors of the evolution of calligraphy in the Ming and Qing dynasties, the research of Jin Dan grasped the relationship between the imperial examination and calligraphy in the life of the literati in the Qing Dynasty, the research of Shi Rui, Xue Longchun and Tian Zhenyu reflected the process of identity recognition and image shaping of the literati in the Ming and Qing dynasties through the publication of inscriptions and collections, the research of Gu Gong and Zhu Tianshu presented the tracing and development of the aesthetics and literati spirit of the literati in the Ming and Qing dynasties, and the research of Zhu Shuai, Shen Hao and Zhao Xichun discussed the influence of calligraphy and painting on literati, folk and even overseas from the perspective of the version and dissemination of books in the Ming Dynasty.
Wen Zhengming's "Poems on Flower Tour by Tieya Gentlemen in Small Regular Script (Volume)" from Jiangxi Provincial Museum (Picture added by the editor)
Wen Zhengming's "Poems on Flower Tour by Tieya Gentlemen in Small Regular Script (Volume)" from Jiangxi Provincial Museum (Picture added by the editor)
Professor Zhu Liangzhi pointed out in his comments that the speeches of the scholars have made inspiring explorations of calligraphy and seal cutting in the Ming and Qing Dynasties at both the macro and micro levels. For example, Ning Xiaomeng's research vividly presents the personal image and group consciousness of Qing Dynasty literati, Liu Chen's research makes a novel exploration of the writing activities of Qing Dynasty emperors and the ideals of literati, Zhu Qi and Wu Peng's research discusses the various changes of Ming and Qing literati at the sociological and cultural levels through the study of Ming and Qing seal theories, seal styles and seal materials, Li Xi, Gu Qing and Zhou Min's research focuses on the unique expression of Ming and Qing literati's discourse and state of mind, and Yang Qing and Chen Shuo's research reveals the macro trend of the style and form of Qing Dynasty literati calligraphy from a micro perspective.
Jin Nong of the Qing Dynasty, "Clerical Script Record of Zhao Gou's Admonitions", Shanghai Museum Collection (Picture added by the editor)
Professor Huang Dun made a general review of the speeches of the scholars at the forum. Professor Huang Dun believes that the main theme of this forum seems to be a more metaphysical "spiritual world", but the speeches of the scholars, with a specific point, show the big picture in the small, highlighting the broad vision of calligraphy history. It is an academic discussion that uses micro materials to present a macro perspective of calligraphy history. It is a good attempt and will surely promote the in-depth study of calligraphy.
Group photo of guests
The organizers said that this was the first academic seminar held after the resumption of publication of Calligraphy Research, and its proposal was to strengthen the problem awareness and leadership awareness of the journal as an academic journal and to enhance face-to-face exchanges with scholars from all walks of life. The three organizers set up the "Chinese Calligraphy History Forum" to promote the reference and integration of calligraphy history research with related disciplines, to promote calligraphy history research to open up new horizons and present new achievements.
Appendix: Keynote Speech Topics
Zhang Jinliang, Professor of the Institute of Ancient Books, Jilin University
"Hongzhi Temperature: The Beginning of the Evolution of Calligraphy in the Ming Dynasty"
Jin Dan, Professor and Director of the Calligraphy Department of Nanjing University of the Arts
Bao Shichen's Imperial Examination Life and Calligraphy
Shi Rui, Associate Research Librarian, Center for Research on Ancient Chinese History, Peking University
"How did Wang Shizhen restore the Wang family's calligraphy?"
Xue Longchun, Professor of the School of Art and Archaeology, Zhejiang University
"Wang Duo's Intentions in Editing the Nishanyuan Anthology in His Late Years"
Gu Gong, Research Librarian of Suzhou Public Cultural Center, Member of the Academic Committee of the Chinese Calligraphy Association
"The Shihu elegance of Wumen literati can be seen from Wen Zhengming's small calligraphy "Flower Tour Song of the Gentlemen of Tieya""
Cui Shuqiang, Vice Dean and Professor of the School of Fine Arts, East China Normal University
The Evolution of Chinese Calligraphy Concepts from the Perspective of Epigraphy in the Qing Dynasty
Zhu Tianshu, Executive Dean and Professor of the Institute of International Communication of Chinese Calligraphy, Beijing Language and Culture University
"Creating "Ancient and Clumsy" - Several Questions about Jin Nong's "Lacquer Book"
Tian Zhenyu, lecturer at Nanhu University, Jiaxing, Zhejiang
Dong Qichang's Mistakes: A New Study of Guannu Tie and Zhonglang Tie
Zhu Shuai, Researcher, School of Arts, Peking University
"The Versions and Circulation of "Essentials of Calligraphy" and "Records of Famous Paintings of All Ages" in the Ming and Qing Dynasties"
Shen Hao, Vice President of China Academy of Art
(Postdoctoral fellow Zhao Xichun from the China Academy of Art read the paper on his behalf)
The Overseas Spread of Miscellaneous Books Since the 17th Century and Its Cultural Significance
Ning Xiaomeng, Associate Professor of Philosophy, Peking University, Director of the Aesthetics Teaching and Research Section
"How is it that man is different from other creatures in that he has no partner?" - Jin Nong's understanding of existence in his later years
Liu Chen, Vice Dean, School of Arts, Peking University, Assistant Professor, Researcher
"I am a scholar: The first day of writing and Qianlong's ideal of a scholar"
Zhu Qi, Professor and Vice Dean of the School of Fine Arts, Nanjing Xiaozhuang College
The Spiritual Implications in the Seal Theory of the Survivors at the Time of the Change of Dynasties from Ming to Qing
Wu Peng, Professor of Shanghai Academy of Fine Arts, Shanghai University
Seal Materials, Seal Albums and Seal Theories: Discussions on the Ecology of Seal Carving and the Construction of Seal Studies in the Late Ming Dynasty
Li Xi, Associate Professor of School of Architecture and Landscape Architecture, Peking University
"The Nestling in the Cold and Desolate Country: Three Examples of Inscriptions on Old Lotus Paintings by Scholars in the Early Qing Dynasty"
Gu Qing, Deputy Director and Associate Researcher of the Institute of Chinese Culture, Chinese Academy of Arts
"Preparing for Wei" and Kang Youwei's Thoughts on Calligraphy
Zhou Min, Lecturer, School of Fine Arts, Jiangxi Normal University
The Lyricism and Significance of Xu Wei's Cursive Script
Yang Qing, Director and Associate Professor of the Fine Arts Department, School of Art, Jinan University
From Textual Research to Elegant Play: The Shift in the Trend of Inscriptions on Epigraphy in the Late Qing Dynasty
Chen Shuo, Associate Professor, Center for Literature and Art Aesthetics, Shandong University
Deng Shiru's Travels and Their Significance in Art History: On the Development of Epigraphy in the Qianlong and Jiaqing Periods
