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This thesis centers on Qi Gong’s philosophy of calligraphy. It will first go through materials on Qi Gong’s time, life, works, teachers and fellow artists, learning experiences and thoughts on calligraphy. This study will then examine the literature review of Qi Gong’s theories and practices on calligraphy. By underscoring his philosophy and aesthetics of calligraphy, this thesis aims to offer a systematic review as well as an objective evaluation of Qi Gong’s calligraphy. At the end, Qi Gong’s theories of aesthetics will be applied to the teaching of calligraphy.
The role calligraphy plays in modern society is quite different from that in ancient time. Writing calligraphy is no longer for communication; instead, calligraphy is appreciated as art works. Learning calligraphy nowadays is not so much for beautiful writing as for meditating about the world and unearthing one’s true nature and potential. Therefore, it is important for the educators to work out an easy way for the beginner to discover the beauty of calligraphy.
Qi Gong, a scholar in Mainland China, uses to have conversation with youngsters about calligraphy in a kind and amicable manner. He talks about learning calligraphy and endeavors to correct the misunderstandings of calligraphy. This thesis thus takes on the methodology of historical research and collects, classifies, examines the materials of Qi Gong’s life, learning experience of calligraphy, evaluations, theories, and other studies in chronological order to understand fully the value of Qi Gong’s works of art. Attention will also be paid to look closely at Qi Gong’s particular calligraphy style from an aesthetic point of view. In addition, this research will also study Qi Gong’s calligraphy together with the pedagogy of calligraphy.
Qi Gong himself is an honest, generous, kind, and humorous gentleman, and his great characteristics are reflected on his works. His personality is the soul of his style. During his life, Qi Gong experiences the change of Qing Dynasty and the Republic Era and the Cultural Revolution. The severe social disturbance gives him the impetus to be innovative and experimental. Therefore, a major feature of Qi Gong’s calligraphy is the combination of innovation and tradition. He emphasizes the structure because, in his point of view, one should learn the “spirit” instead of the “form” of great masters’ works. Only by doing so could one create a distinctive style of one’s own. Qi Gong’s calligraphy is highly valued in Mainland China. Beijing Normal University, where Qi Gong is once a faculty member, held international conferences on his calligraphy twice. His calligraphy is also influential in the U.S., Japan, and Korea, and studies on Qi Gong are also abundant in these countries. This thesis is thus devoted to enhance the studies on Qi Gong and provide helpful analysis for those teaches calligraphy.
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