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Posts Tagged ‘Confucius (Kong Fuzi)’

We have talked about the features, evolution and major functions of Chinese calligraphy. Now we will talk about the relations between calligraphy and the traditional cultural mindset of the Chinese people.

The cultural mindset of the Chinese people can be seen in the painting on prehistoric pottery and the human mask design on a bronze three-legged tripod of the Shang Dynasty displayed in the Museum of Chinese History, in the three halls of the Palace Museum in Beijing and in the Longmen Grottoes in Henan Province. Also, it can be found on tomb bricks of the Qin Dynasty, roof tiles of the Han Dynasty, poems of the Tang Dynasty and rhymed verses of the Song Dynasty.

Calligraphy is an elegant art, with a history of several thousand years, and fully displays the cultural mindset of the Chinese people. Such a cultural mindset is rooted in classical philosophical thinking. It can be dated back to the pre-Qin period and also embraces Confucian and Taoist thought. Confucian thought and Taoist thought supplemented each other, and became important factors promoting and affecting the evolution and development of the aesthetics of calligraphy.

Confucius (551-479 B.C.) was the founder of the Confucian school of thought which was predominant in China for more than 2,000 years, and represented the main social and cultural trends of ancient China. The Confucian school advocated kindness, loyalty, forgiveness and the moderation. Concerning the ideal outlook on life, it advocates progress and optimism. In the field of art, it affirms natural beauty, and emphasizes the integration of beauty and kindness. It believes the art can mold a person’s temperament and educate a person in aesthetics, thus helping that person enter a lofty spiritual realm and promoting the harmonious development of society.

The founder of Taoism, Lao Zi, lived in the same historical period as Confucius, although slightly before him. The essence of the Taoist thought emphasizes that thinking and behavior should obey natural laws. In its outlook on life, Taoism focuses on retreat, avoidance and passivity. In the sphere of art, it emphasizes the ideal of going back to nature and looking for the quality of nature and human beings. Taoism yearns for artistic romanticism, and maintains that aesthetics should be separate from concrete practice, and that people should not seek after beauty which is combined with benefits and satisfies physiological needs. Real beauty should be natural, and exist in a spiritual realm free from outside shackles. Such artistic aesthetics are more profound than those of Confucianism, and exerted a significant influence on later generations.

In general, the common aesthetic outlook held by these two schools and displayed in calligraphy and other arts can be seen in the following three aspects: the beauty of simplicity, the beauty of momentum and rhythm and the beauty of moderation.

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