张旭与草书艺术英文原创.docx
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张旭与草书艺术英文原创.docx
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张旭与草书艺术英文原创
WildCursiveScriptArtandZhangXu
1.Introduction
CursivescriptisakindoftraditionalChinesescriptproducedforconvenienceofwriting.CursivescriptoriginatedsincethebeginningoftheHanDynasty.(Barnhart,1972)Thecharacteristicsare:
havingthebasicappearanceofcharacters,breakingtheregularityofClericalscript,boldandunrestrained.CursivescriptcouldbedividedintothreemaintypeswhichareZhangCursive,JinCursiveandWildCursive.(Li,2002)StrokesofZhangCursivehavesomecertainrules,theSongjiangversionofLiteratureinaHurrywrittenbyWuHuangxiangoftheThreeKingdomsPeriodisoneoftherepresentativeworksofZhangCursive.WhileJinCursivedoesnothavecertainregularities,strokesareveryfluentandsmooth,significantJinCursiveworksincludeWangXizhi’sNewMoonandDeshi.WildCursiveexistedinTangDynastyandisrepresentedbyZhangXuandHuaiSu.StrokesofWildCursiveisquiteprofligateandunrestrained,thereforeWildCursiveworksbecometotalartisticcreationswithoutpracticability.(Chen,2011)MasterpiecesofWildCursivesuchasZhangXu’sTheStomachPainsTherapy,TheHeartSutra,andHuaiSu’sTheAutobiographicBookhavebeenpreservedtilltoday.Inmoderntimes,LinSanzhiwaspraisedasSaintofCursiveScript,hismasterpieceSino-JapaneseFriendshipPoembeishonouredasLinSanzhi’sbestcursivework(SeeFig.1).(Chen,2011)
Fig.1ExcerptsofCursivescriptart,createdbyLinSanzhi
Theauthoraimsatmakinganin-depthstudyoftheCursivescriptartbasedonthecontentsinclass.TheauthorwillcombinethetheoriesoftraditionalChinesecalligraphywiththeauthor’sownexperienceofwriting,combthehistoricaldevelopmentandcharacteristicsofthiskindofuniquescript,makeacriticalanalysisoftheculturalconnotationandvalueoftheCursivescriptespeciallytheWildCursivescript.Inordertonarrowdownthetopic,theauthoralsochoosesoneofthegreatestCursivescriptartistsZhangXuandhisworktodoacasestudy.
2.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)
3.DevelopmentoftheWildCursivescriptanditscharacteristics
Fig2.HuaiSu’sCursivescriptart
Duringtheevolutionprocessofscripts,tilltheTangDynasty,allkindsofscriptsattainedtheirmaturity.Atthattime,theWildCursivescripthadachieveditspeakandcouldnotbesurpassedbythelatergenerations.TheremarkablesymbolwastheexistenceoftwoCursivesaints:
ZhangXuandHuaiSu,andtheirbrilliantaccomplishmentsinWildCursiveart.(Barnhart,1972)
CulturalsituationistheTangDynastywasgrandandmagnificent,whichlinkedcloselywiththepoliticalstructureatthattime,ThepoliticalreformsduringtheSuiandTangDynastylargelyreducedthepoweroflandlordclass.InTang,thepoliticswasveryopen,manytalentsfrommiddleandlowerclasssteppedontotheofficialcareerthroughImperialexamination,theyenteredontothehistoricalstagewithbeautifulhopesforthefutureandconfidentpoliticalgoals.(Schlombs,1998EmperorTaizongofTangalsoadvocatedtheopeningpolicyonculturalfield.Therefore,theTangsocietypresentedainclusiveandfreeculturalenvironment.(Chen,2011)TheopeningpolicyinTangDynastywasalsoembodiedasabsorbingforeignculturalconsciousnesssuchasthemedicineandarchitecturefromtheWestAsia,danceandmusicfromMid-Asia,calenderandtheBuddhismfromSouthAsiaetc.(Schlombs,1998Therefore,alltypesofcultureandartearnedoutstandingachievements.TheprosperityofcalligraphycouldnotbeseparatedfromEmperorTaizongofTang’spowerfulpushing.Hewaskeenoncalligraphyandpromotedcalligraphy,evenlistedasanimportantcontentofgoverningthecountry.(Chen,2011)Asaresult,thedevelopmentofcalligraphywasguaranteed.
Insuchanopen,free,inclusive,confidentandpassionateTangculturalatmosphere,theexistenceoftheWildCursivescriptbrokethemanneredaestheticrulesofmanyscriptsrepresentedbySealscript,ClericalscriptandRegularscript.(Schlombs,1998OnthebasisoftheJinandZhangCursivescriptswhichhadbrokenawayfromthepracticabilityandbecomeindependentarts,theWildCursiveestablishedamilestoneofformativeartswithitscrazypassionandtheinfatuatedcondition.(Chen,2011)Thestrongemotionalexpression,boldandunrestrainedstrokes,profoundandabundantartisticstateoftheWildCursivescript,hadcreatedanewearofChinesecalligraphyart.
4.ZhangXu’sWildCursivescriptart
Fig3.CalligrapherZhangXu,TangDynasty
ZhangXuisafamouscalligrapherofTangDynasty.Hiswasveryoutstanding,generousandtalented.Hewasacursivescriptmasterwithpersonality.Itissaidthatheoftengotdrunk,yelledandranround,andthenwrotecrazily,evendippedinkwithhishairtowrite,thereforehewonanickname“CrazyZhang”.Asamatteroffact,hewasverycareful,hebelievedthateverythingindailylifeinspiredhimtowrite.Oncehegotinspirations,hewouldinvolveinhiscalligraphy.(Gao,2007)Evenatthattime,whenpeoplegothiswork,theywouldseeitastreasuresandcollectedgenerationaftergeneration.
ZhangXu’scalligraphyartaccomplishmentsareembodiedinthetwomainaspects.ThefirstaspectistheWildCursivescript.Onetheonehand,hisWildCursivescriptpracticesandthebrilliantachievementopenedabrandnewartworldwhichwastotallydifferentfromotherscripts.Sincethen,asamatureandimportantscript,theWildCursivescriptwasinheritedgenerationaftergenerationandcarriedforward,whichhaslargelyimprovedtheexpressingroomoftraditionalChinesecalligraphy.(Ge&Li,2008)Ontheotherhand,ZhangXucreatedthepeakoftheWildCursivescriptinhistory,atthesametime,healsoestablishedthefundamentalstandardsystemofthiskindofscript.HewastheguywhopushedtheWildCursivearttothematurestage,andalsopushedtheWildCursivearttothepeak.TheStomachPainsTherapy,TheHeartSutraandTheFourNotesofAncientPoetryarethebest-knownworksofZhangXuamonghismanyproductionscomingdowntonow.(Gao,2007)Inthenextsection,theauthorwillmainlyanalyzethesethreemasterpieces,soastogetadeeperfeelingofZhangXu’sWildCursiveart.
5.CasestudiesofZhangXu’smasterpieces.
Fig4.ExcerptsofTheFourNotesofAncientPoetry,createdbyZhangXu
AsforthecreationofTheFourNotesofAncientPoetry,heusedhisuniqueWildCursivestyletofreelywritedownthefourancientpoemscreatedbytwoeminentancientwritersXieLingyunandYuXinonthepricelessFive-colorpaper.Thisworkconsistsof40linesand188words.Thestrokesoftheoverallworkareveryrichandstrong,withoutanyweakorflashystrokes.Thestyleofwritingisupsanddowns,whichcombiningthemovingandmotionlessness.Thewholepaperlooksliketheever-changingcloudsandsmokecurlingup,whichmakesviewersmovedandrefreshed.
CombinedwiththeformerCursivescriptworks,TheFourNotesofAncientP
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