Discuss the Concordance and Unanimity between Zheng Ban Qiao’s Ink Bamboo and His Calligraphy

• Main Authors: Julia Wu Su Min, 巫素敏
• Other Authors: Shen Yi Cheng
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/99073495410842296288

碩士 === 中國文化大學 === 藝術研究所美術組碩士在職專班 === 91 === Thesis Statement : Discuss the Concordance and Unanimity between Zheng Ban Qiao’s Ink Bamboo and His Calligraphy. Date of Graduation and Purpose: 2nd Semester, Year 2002-2003, Graduate Thesis Name of Graduate Student: Julia Wu, Su-Min Name of Advisor: Shen Yi Cheng Professor Thesis Content : The subject of this thesis is the research and study of one of Qing Dynasty’s most important “Yangzhou School of Painting” artists Zheng Ban Qiao, who is well-known for the ingeniousness in his orchids and bamboo. This thesis concentrates on the investigation, and analysis of his Ink Bamboo. Discuss and examine the provenance of Ink Bamboo, its changes in the past history and its influences and effects on future generations. All these are based on the research and verification of related documented data, historical records, artistic and cultural abstracts compiled for this study. Zheng Xie, first personal named Ke-Rou, second personal named Ban Qiao was a native of Jiangsu, SinHua. He was appointed as “Xiu cai” (a scholar of the first degree) during the reign of Kiangsi Emperor, “Zhu ren” (a scholar, having passed the second degree of the Imperial Examinations) in YongZheng ‘s period and a “Jin shi” (a successful candidate in the national examination) on the first year of Qianlong’s sovereignty. He was consigned to Shandong, to head the local administration in Fanxian and Weixian. During this period of time, Zheng Ban Qiao, who endeavored to raise funds to relieve his people from poverty and famine, offended many local magistrates and officials and was displaced from his job. Zheng Ban Qiao remained uncorrupted all through his official career, and therefore was penniless when he became unemployed. He was compelled to turn to painting as a means of sustenance when he returned to Yangzhou. Zheng Ban Qiao had been painting orchids and bamboo for fifty odd years and that could be considered as his greatest achievement and accomplishment in life. He was a distinguished poet and often wrote “ci” poems to relieve his tension and anxiety. His calligraphy, having an original style of his own, could be branded as “unique and ingenious”. He had created a new style of calligraphy which he had called “liufenban” (six and half). This was a combination of Zhen-shu (formal script), Xing-shu (running script), Li-shu (Hahn Dynasty script), Zhuan-shu, (seal script). There are six chapters in this thesis, and they are as follows: Chapter 1 : Introduction Research and explicate the motivations and goals behind Zheng Ban Qiao’s Ink Bamboo. In order to facilitate a successful and smooth completion of this research,parameters and boundaries are established, research methods and techniques are also clearly defined. Chapter 2 : Zheng Ban Qiao’s Association with the “Eight Eccentrics of Yangzhou” Discuss the background factors affecting Zheng Ban Qiao’s artistic development. The prosperity of Yangzhou and the fabulous wealth accumulated by flourishing salt merchants in the city brought about the abrupt rising of this artistic group called “Yangzhou Eight Eccentrics”. Examine Zheng Ban Qiao’s fine arts skills and his position and standing in this group. Chapter 3 : Zheng Ban Qiao’s Life History Account for his birthplace, his family background, education, teaching career, his experience and life as a government official , his personality traits and anecdotes associated with his daily life. Chapter 4 : The Concordance and Unaminity between Zheng Ban- Qiao’s Ink Bamboo and his Calligraphy. Illustrate the unique style, special features and distinguished qualities of Zheng Ban Qiao’s Calligraphy and his Paintings. In addition, investigate the successful application and utilization of the “ techniques of the same origin” in both of his paintings and calligraphy. Chapter 5 : The Comparison of Zheng Ban Qiao’s Ink Bamboo with the Other Artists’ of the Past Discuss the artistic theories and values underlying the Ink Bamboo of the past and the aesthetic doctrines used by Zheng Ban Qiao in his Ink Bamboo.. In addition, present a comparison of techniques and skills which were employed by the artists of the past and Zheng Ban Qiao’s in order to facilitate a better comprehension and appreciation of their similarities and differences. Chapter 6 : Conclusion Examine the relationship between the scholars’ paintings and Zheng Ban Qiao’s. Define the significant influence of Zheng Ban Qiao’s Ink Bamboo and its effect on the future generations. By studying and exploring the Concordance and Unanimity and of Zheng Ban Qiao’s Ink Bamboo and his Calligraphy, we could acknowledge the origination of his calligraphy and demonstrate the degree of profoundness in his traditional background learning and training. Here we discuss how he was able to employ the special qualities and characteristics of calligraphy techniques onto his painting of Ink Bamboo. Thus allowing the complete expansion and execution of what all scholar’s painters were demanding at that time that the “techniques of the same origin” theory should be utilized entirely and endorsed in both paintings and calligraphy. Zheng Ban Qiao had resisted and refused to yield to the encroachment of the ancient heritage on his art, and had successfully broken through all limitations, in order to explore new revenues and create an original style of his own. The spirit and measures demonstrated by him to initiate new things in this world of incessant changes is worthy of our pursue and investigation.