| Summary: | 碩士 === 臺北市立師範學院 === 應用語言文學研究所 === 91 === This thesis is divided into six chapters. Chapter One, Introduction, gives a general overview of the motive, purpose, and range of the research, the documentary research that is hitherto made, and the methodology of the thesis.
Chapter Two, Chao Mengfu’s Background, Education, and Friends, discusses Chao’s historical background, his family, education, and friends. Chao was born in the time of Southern Song. Smart and studious, Chao, as a distant relative of the royal Song family, had the access to the hoarded calligraphic treasure of the family, which formed the solid basis of his art and taste. He was one of the Eight Gifted Scholars of Wuxing who had a wide acquaintance, and enjoyed improvisation of calligraphy and painting together with his friends Qian xuan, Xian Yushu, Deng Wenyuan. During Yuan Dynasty, he received an official position, which provoked criticism. Nevertheless, he made efforts at representing the general public opinion, and contributed to the construction of schools, promotion of Confucianism, and eradication of conspirators; meanwhile, he realized his Confucian ideal of Practical Governing Art. However, the inward conflict resulted from his position, together with the discrimination against and jealousy towards him in the court, made him petition for being send to a place outside of the circle of power, regret for having received the official position, and long for a rural life. He began to seek comfort in creation. In the decline of his life, after years of ups and downs, the physically and mentally fatigued Chao excused himself to Buddhism for relief.
Chapter Three, The Thinking and Calligraphic Training of Chao Mengfu, recounts Chao’s background of thinking and personality, as well as his training in the art of calligraphy. The intertwinement of Confucianism, Buddhism, and Taoism in Chao’s thinking contributed to the multifaceted character of his creative works. He did not follow any school; instead, he absorbed the advantages of every school in tradition. As a distant relative to the royal family, he followed the art of Song Gao Zong in his earlier years, which had a lifelong influence on his art. Later, he learned from Two Wangs (Wang Xizhi and Wang Xianzhi) and Chung You, and followed the calligraphic art of Lu Jian; meanwhile, he was indebted to the other masters. As his art gradually matured, Chao’s Art as a school was formed. In his later years, for the convenience of epigraphy, he apparently blended the techniques of Lee Yi and Liu Gongquan, which contributed to the vigor of his calligraphy. Besides these influences, he profited by the calligraphic art of the masters of Qin Dynasty, Han Dynasty, and the Three Kingdoms, including the technique of model-copy of Shigu Characters, Zuchu Characters, the art of Liang Hao and Huang Xiang. This training made him adept at the calligraphic art of Zhuan (Seal Scriipt), Li (Cleric Script), Xing (Running Script), Cao (Cursive Script), and Zhangcao.
Chapter Four, An Exploration of Chao Mengfu’s Calligraphic Art, first touches on Chao’s theory of calligraphy which spread among the epigraphs. Although they were not collected in the form of a book, they could be summed up as the following points: to recover the calligraphic art of Jin and Tang Dynasties, to concentrate on the art of inscription, to write for life, to make a harmony between pen, ink, paper and pen, and to break the confines of similarity of shapes. Next, the thesis continues to discuss the shift of Chao’s calligraphy, and summarizes the characteristics and achievement of Chao’s calligraphic art. The characteristics of Chao’s calligraphy are: 1) he followed the spirit of the great masters, which formed the principle of his calligraphy; 2) he polished and elaborated his style; 3) he absorbed the tenderness and charm from the Two Wangs, and mastered the art; and 4) he was studious and he learned from various schools, which made his art and his personality matured early. The achievement of his art includes: 1) he restored the beauty of classical culture; 2) he formed one of the primary schools of formal script; and 3) he amplified the form and content of calligraphic art. Finally, the thesis concentrates on the most important and representative works of Chao’s creation for a deeper investigation. Graphics and a catalogue of his works are attached for the purpose of explication and reference.
Chapter Five, Chao Mengfu’s Influences on the Calligraphic Art of the Latter Generations, explores the influences of Chao’s art on the latter generations, as well as pinpoints the artists of Yuan, Ming, Qing Dynasties that were indebted to Chao. Chao was one of the pioneers in Yuan Dynasty who endeavored to renovate the classical calligraphic art. He articulated the opinions of one of the repressed other clans which, unable to resist the domination of Mongolians, attempted to renovate the traditional culture, as the only way and their sole mission to resist the domination. Under the leadership of Chao, the contemporary artists gathered their power and formed a campaign. Chao’s influence was even felt in Korea, their neighboring country. The campaign continued in the periods of Ming and Qing which shared a similar cultural background. In view of the fact that Chao represented one the most important reactionary powers in Yuan Dynasty, this thesis explores and subdivides the calligraphers of Yuan Dynasty into different types to examine how much Chao had influenced them. It continues to examine his influence on the calligraphers of the Ming and Qing Dynasties whose movement were also partly encouraged by the authority. As we can observe, some of the modern calligraphers were also indebted to the Chao’s art.
Chapter Six, Conclusion, attempts to investigate Chao’s calligraphic art from an objective perspective despite his official position, and confirms his achievement in Chinese culture. The artistic value of Chao’s calligraphy is undoubtedly great, and his influences on the succeeding generations are also unheard-of. Certainly, this achievement is partly due to the trend of different periods; however, if not for his genius and ability to seize opportunity, he would not have such a tremendous accomplishment and influence. Chao Mengfu’s success and contributions had gained the artist a foothold in the history of calligraphy.
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