Basic Research on Theory of Chinese Calligraphy and Painting in the Late Ming Dynasty: Focus on the Transition of Dong Qichang's Theory

2015 Fiscal Year Final Research Report

• Project/Area Number: 25770052
• Research Category: Grant-in-Aid for Young Scientists (B)
• Allocation Type: Multi-year Fund
• Research Field: Fine art history
• Research Institution: Yasuda Women's University
• Principal Investigator: OGAWA Akiho 安田女子大学, 文学部, 助教 (20630908)
• Project Period (FY): 2013-04-01 – 2016-03-31
• Keywords: 董其昌 / 書論 / 画論 / 明末 / 題跋 / 法帖 / 顔真卿 / 楊凝式

Outline of Final Research Achievements

This study illustrates the development of Dong Qichang (1555-1636) 's calligraphy theory, through an analysis of publications by himself and others in the late Ming dynasty.
In the course of collecting works produced by others and his own, and publishing copybook printed from the works of old masters, the theory of Dong Qichang had gradually changed, though he consistently paid attention to the expressive brush force, characteristic in the clerical script. This attitude, which focused on the expressive brush force of works whether it was written in the clerical script or in the regular script, can be seen also in his remark referring to the works faking Mi Fu, and in the "Bijue" by Feng Fang, housed in the Kampo Museum. This particular point of view disappeared after the early Qing dynasty, thus emphasizing its significance.

Free Research Field

美術史