A Study on Lu Shi Yi's Calligraphy and His Theory on Calligraphy

• Main Authors: YEH YU MEI, 葉郁玫
• Other Authors: 李郁周
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/67070238198779518979

碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 98 === Abstract During the period of Chien-chia (1736-1820), Taiwan was seen to place gradual emphasis on cultural education owing to its political stability and economic prosperity. Also altered was the face of Taiwan calligraphy occasion, with the arrival of former Fujian civil officials. Taiwan calligraphy used to model on Museum Pavilion Style to cope with imperial examinations. At young ages, Lu Shi Yi (1784-1855) strove for imperial examinations as well; nonetheless, his horizons were broadened through his associations with friends interested in Bronzes and Stones Style. In late years, he served as teacher in Panchiao Lin Ben Yuan’s family, thus accessed to an abundant collection of Bronzes and Stones tablets. His reputation in the Stone Inscription was then spread, giving rise to many of his works created for social intercourse. Lu thus ushered in Bronzes and Stones Style to Taiwan calligraphy occasion, and earned himself the name of pioneer in Taiwan Bronzes and Stones Style. This thesis aims at exploring Lu’s calligraphy style and theory on calligraphy. The study of his work Ai Wu Lu Colophon offers a further understanding of his calligraphy style and ideology. As for the formation of his calligraphy, Chi-Square Tests and Logistic regression will provide the scientific analysis. The following are the chapters included in this thesis: Chapter One: Introduction states the motive, method and purpose of the study on Lu Shi Yi’s calligraphy as well as data review. Chapter Two: Biography and Friendships gives a concise introduction of Fujian and Taiwan calligraphy occasions in Chien-chia period. At that time, autograph calligraphy came to lose power in Fujian, while cultural education in Taiwan was nearing completion. Taiwan calligraphy style then followed the trend for Museum Pavilion Style. As extension of Fujian calligraphy style, however, Taiwan calligraphy distinguished itself by adding its own cultural background. Next, this chapter studies Lu Shi Yi’s integration of both Fujian and Taiwan calligraphy styles. Last, it concludes by researching how Lu Shi Yi’s friends influenced him and opened up to him the world of Bronzes and Stones Inscription. They were Sun Yun Hong the collector, Ling Yang Siang in Siamen, Brothers of Ling Mou Siang and Panchiao Lin Ben Yuan’s Family. Besides, the precise time and factors Lu Shi Yi commuted between Xiamen and Taiwan are provided in this study. Chapter Three: Calligraphy Style, Ideology and Creations studies one of Lu Shi Yi’s masterpieces Ai Wu Lu Colophon. Four editions as there are, the contents of the colophon are quite the same. The mere difference lies in pictures and data attached to the colophon. Next, this chapter clarifies Lu Shi Yi’s learning process of calligraphy and his ideology. It further clears up the popular misconception that Lu Shi Yi and Yi Bieng Shou used to be closest rivals in calligraphy. Last, it sorts out the characteristics of Lu Shi Yi’s calligraphy formation. It takes clerical style of Chinese calligraphy and running scripts as example, analyzing the alterations of Lu’s calligraphy style. Chapter Four: Characteristics of Calligraphy Style and Structure Analysis, with the aid of Chi-Square Tests and Logistic Regression Approach, analyzes Lu’s works through statistical charts and numerical tabular. This scientific approach aids to identify Lu’s signature, the contents of his signature and the potential factors which affect his changing the use of the seal. This chapter also categorizes Lu’s calligraphy works into works of imitation and creation. It compares Lu’s works with the original templates and works of other calligraphers who share similar calligraphy style to him. Chapter Five: Conclusion briefly summarizes the previous chapters. With respective analyses of Lu Shi Yi’s contemporary and personal styles, it offers a profound understanding of how Lu developed his own calligraphy style and internalized transference in the process of learning.