张旭与草书艺术 英语论文.docx

张旭与草书艺术 英语论文.docx

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张旭与草书艺术英语论文

WildCursiveScriptArtandZhangXu（张旭）

Introduction

CursivescriptisakindoftraditionalChinesescriptproducedforconvenienceofwriting.CursivescriptoriginatedsincethebeginningoftheHanDynasty.（Barnhart,1972）Thecharacteristicsare:

havingthebasicappearanceofcharacters,breakingtheregularityofClericalscript,boldandunrestrained.CursivescriptcouldbedividedintothreemaintypeswhichareZhangCursive,JinCursiveandWildCursive.（Li,2002）StrokesofZhangCursivehavesomecertainrules,theSongjiangversionofLiteratureinaHurrywrittenbyHuangXiang（皇象）oftheThreeKingdomsPeriodisoneoftherepresentativeworksofZhangCursive.WhileJinCursivedoesnothavecertainregularities,strokesareveryfluentandsmooth,significantJinCursiveworksincludeWangXizhi’s（王羲之）NewMoonandDeshi.WildCursiveexistedinTangDynastyandisrepresentedbyZhangXu（张旭）andHuaiSu（怀素）.StrokesofWildCursiveisquiteprofligateandunrestrained,thereforeWildCursiveworksbecometotalartisticcreationswithoutpracticability.（Chen,2011）MasterpiecesofWildCursivesuchasZhangXu（张旭）’sTheStomachPainsTherapy,TheHeartSutra,andHuaiSu（怀素）’sTheAutobiographicBookhavebeenpreservedtilltoday.Inmoderntimes,LinSanzhi（林散之）waspraisedasSaintofCursiveScript,hismasterpieceSino-JapaneseFriendshipPoembeishonouredasLinSanzhi（林散之）’sbestcursivework（SeeFig.1）.（Chen,2011）

Fig.1ExcerptsofCursivescriptart,createdbyLinSanzhi（林散之）

Theauthoraimsatmakinganin-depthstudyoftheCursivescriptartbasedonthecontentsinclass.TheauthorwillcombinethetheoriesoftraditionalChinesecalligraphywiththeauthor’sownexperienceofwriting,combthehistoricaldevelopmentandcharacteristicsofthiskindofuniquescript,makeacriticalanalysisoftheculturalconnotationandvalueoftheCursivescriptespeciallytheWildCursivescript.Inordertonarrowdownthetopic,theauthoralsochoosesoneofthegreatestCursivescriptartistsZhangXu（张旭）andhisworktodoacasestudy.

HistoryoftheCursivescript

Wheninuse,peoplehavedemandsforconvenienceofwritingeverytypeofscript,thereforethesimplifyingandhastytendencyoccurs.Thetendencyisthemainfactorofcharacterevolution.（Barnhart,1972）

TheearlyformoftheCursivescriptwasparallelwithClericalscript,andwascalledClericalCursivescript.Infact,itcontainedsomestrokesofSealscript.EarlyCursivescriptbroketheregularityandprecisenessofClericalscript,whichwasakindofhastywritingandcalledZhangCursive.TheZhangCursiveisakindofelegantcursivescriptthatcombinesthetypicalCursivescriptandHanClericalscript,strokesandinterconnectionsareintheshapeofwaves.Eachcharacterisindependentwitheachother,theshapeofcharactersareoblatesquaresandinthehorizontaltype.TheZhangCursivewasmostpopularduringHanandWeiDynasty,resumedtillYuanDynastyandchangedinMingDynasty.（Chen,2011）TilltheendofHanDynasty,theZhangCursivebecamemorehastyandrough,itgotridofthesignsofClericalscript,strokesbecameconnectedwitheachother,eventheradicalsweresimplifiedandinterlibrary.ThisnewtypeofCursivescriptiscalledJinCursive.SinceWeiandJinDynasty,ithadenjoyedlong-lastingpopularityforhundredsofyears.（Chen,2011）TilltheTangDynasty,theJinCursivebecamefurthermoreunrestrained.Strokeshadvariouschangesandthecharacterslookedverymagical,thistypewascalledtheWildCursiveortheBigCursive.（Chen,2011）

Tilltoday,theaestheticvalueoftheCursivescripthasfarbeyonditspracticalvalue.PeopleshouldknowthattheCursivescriptalsohassomecertainregularitiesratherthantotallyrandomwriting,suchassimplifyingstructuresandsharingradicals,soastoconnectthedotsandstrokesintocharacter.OneofthemainfeaturesoftheCursivescriptsymbolsisthatstrokeshaveconnectionsincludingtheconnectionsbetweentheuppersideandlowerside,andtheconnectionsbetweentheleftandright.ThehorizontaltendencyoftheClericalwritingprovidesreferencestothecursiveconnectionsbetweentheleftsideandtherightside.ThefundamentaldifferencebetweentechniquesoftheZhangCursiveandJinCursivewritingisthattheformertypeadoptstheshape“-”,whileJinCursiveusestheshape“s”.（Zhangetal,2010）

DevelopmentoftheWildCursivescriptanditscharacteristics

Fig2.HuaiSu（怀素）’sCursivescriptart

Duringtheevolutionprocessofscripts,tilltheTangDynasty,allkindsofscriptsattainedtheirmaturity.Atthattime,theWildCursivescripthadachieveditspeakandcouldnotbesurpassedbythelatergenerations.TheremarkablesymbolwastheexistenceoftwoCursivesaints:

ZhangXu（张旭）andHuaiSu（怀素）,andtheirbrilliantaccomplishmentsinWildCursiveart.（Barnhart,1972）

CulturalsituationistheTangDynastywasgrandandmagnificent,whichlinkedcloselywiththepoliticalstructureatthattime,ThepoliticalreformsduringtheSuiandTangDynastylargelyreducedthepoweroflandlordclass.InTang,thepoliticswasveryopen,manytalentsfrommiddleandlowerclasssteppedontotheofficialcareerthroughImperialexamination,theyenteredontothehistoricalstagewithbeautifulhopesforthefutureandconfidentpoliticalgoals.（Schlombs,1998EmperorTaizongofTangalsoadvocatedtheopeningpolicyonculturalfield.Therefore,theTangsocietypresentedaninclusiveandfreeculturalenvironment.（Chen,2011）TheopeningpolicyinTangDynastywasalsoembodiedasabsorbingforeignculturalconsciousnesssuchasthemedicineandarchitecturefromtheWestAsia,danceandmusicfromMid-Asia,calendarandtheBuddhismfromSouthAsiaetc.（Schlombs,1998Therefore,alltypesofcultureandartearnedoutstandingachievements.TheprosperityofcalligraphycouldnotbeseparatedfromEmperorTaizongofTang（唐太宗）’spowerfulpushing.Hewaskeenoncalligraphyandpromotedcalligraphy,evenlistedasanimportantcontentofgoverningthecountry.（Chen,2011）Asaresult,thedevelopmentofcalligraphywasguaranteed.

Insuchanopen,free,inclusive,confidentandpassionateTangculturalatmosphere,theexistenceoftheWildCursivescriptbrokethemanneredaestheticrulesofmanyscriptsrepresentedbySealscript,ClericalscriptandRegularscript.（Schlombs,1998OnthebasisoftheJinandZhangCursivescriptswhichhadbrokenawayfromthepracticabilityandbecomeindependentarts,theWildCursiveestablishedamilestoneofformativeartswithitscrazypassionandtheinfatuatedcondition.（Chen,2011）Thestrongemotionalexpression,boldandunrestrainedstrokes,profoundandabundantartisticstateoftheWildCursivescript,hadcreatedanewearofChinesecalligraphyart.

ZhangXu（张旭）’sWildCursivescriptart

Fig3.CalligrapherZhangXu（张旭）,TangDynasty

ZhangXu（张旭）isafamouscalligrapherofTangDynasty.Hiswasveryoutstanding,generousandtalented.Hewasacursivescriptmasterwithpersonality.Itissaidthatheoftengotdrunk,yelledandranround,andthenwrotecrazily,evendippedinkwithhishairtowrite,thereforehewonanickname“CrazyZhang”.Asamatteroffact,hewasverycareful;hebelievedthateverythingindailylifeinspiredhimtowrite.Oncehegotinspirations,hewouldinvolveinhiscalligraphy.（Gao,2007）Evenatthattime,whenpeoplegothiswork,theywouldseeitastreasuresandcollectedgenerationaftergeneration.

ZhangXu（张旭）’scalligraphyartaccomplishmentsareembodiedinthetwomainaspects.ThefirstaspectistheWildCursivescript.Onetheonehand,hisWildCursivescriptpracticesandthebrilliantachievementopenedabrandnewartworldwhichwastotallydifferentfromotherscripts.Sincethen,asamatureandimportantscript,theWildCursivescriptwasinheritedgenerationaftergenerationandcarriedforward,whichhaslargelyimprovedtheexpressingroomoftraditionalChinesecalligraphy.（Ge&Li,2008）Ontheotherhand,ZhangXu（张旭）createdthepeakoftheWildCursivescriptinhistory,atthesametime,healsoestablishedthefundamentalstandardsystemofthiskindofscript.HewastheguywhopushedtheWildCursivearttothematurestage,andalsopushedtheWildCursivearttothepeak.TheStomachPainsTherapy,TheHeartSutraandTheFourNotesofAncientPoetryarethebest-knownworksofZhangXu（张旭）amonghismanyproductionscomingdowntonow.（Gao,2007）Inthenextsection,theauthorwillmainlyanalyzethesethreemasterpieces,soastogetadeeperfeelingofZhangXu（张旭）’sWildCursiveart.

CasestudiesofZhangXu（张旭）’smasterpieces

Fig4.ExcerptsofTheFourNotesofAncientPoetry,createdbyZhangXu（张旭）

AsforthecreationofTheFourNotesofAncientPoetry,heusedhisuniqueWildCursivestyletofreelywritedownthefourancientpoemscreatedbytwoeminentancientwritersXieLingyun（谢灵运）andYuXin（虞兴）onthepricelessFive-colorpaper.Thisworkconsistsof40linesand188words.Thestrokesoftheoverallworkareveryrichandstrong,withoutanyweakorflashystrokes.Thestyleofwritingisupsanddowns,whichcombiningthemovingandmotionlessness.Thewholepaperlooksliketheever-changingcloudsandsmokecurlingup,