The Confucian Calligraphy Concept in Jiang Kui's “Xu Shu Pu”

Abstract

The Song Dynasty created another peak different from the previous dynasties in terms of ideology such as literature, art, and philosophy. In this era of cultural prosperity and development, artistic activities such as poetry, calligraphy, and painting have shown outstanding achievements in both artistic creation and theory. Jiang Kui is one of the representative figures. He not only left rich literary and artistic achievements for future generations in literature and calligraphy creation, but also left precious ideological wealth for future generations in terms of literary and artistic theory, especially calligraphy theory. As an artist with profound attainments and unique insights into calligraphy, Jiang Kui pondered and summarized his many years of writing experience and artistic experience, and conducted a series of basic questions on calligraphy aesthetics, basic techniques, and cultural meanings. “Xushupu” can be said to be one of the works with remarkable achievements and great influence in the Southern Song Dynasty calligraphy theory, and it has been valued by calligraphers of all dynasties. This article intends to focus on “Xu Shu Pu”, by interpreting Jiang Kui's calligraphy theory, and examining his Confucianism-inspired calligraphy concept. Jiang Kui established “Fengshen” as the highest aesthetic standard of calligraphy art in “Continued Books”, and launched his theoretical interpretation with “Fengshen” as the core. Influenced by Zhu Xi's thoughts and Neo-Confucianism, he also showed an obvious tendency to respect “yili” and “gufa” in his calligraphy theory.