A Modern Treatise on Calligraphy

Name: A Modern Treatise on Calligraphy
ISBN: 9781624371820

祁贵兴中国国际出版社Mar 2022

3.3

Word count: 38K words
Chapters: 72
ISBN: 9781624371820

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Summary

The book has the following features: Innovation. Drawing on traditional calligraphy theory and modern literary and artistic theory, it conducts a comprehensive study of Chinese calligraphy, creates an entirely new theoretical system of calligraphy, pioneers calligraphy theory research, and stands as a foundational work of new calligraphy theory.

Concreteness. Traditional calligraphy theory is confined to figurative thinking, which makes it seem highly mysterious and difficult to understand and apply. In addition to figurative thinking, this book also employs abstract and philosophical thinking, closely integrating theory with practice and opening another window for the understanding and application of calligraphy.

Practicality. It gives calligraphy appreciators and creators a golden key to unlocking the mysteries of calligraphy. It interprets and illuminates numerous works by famous calligraphers of past dynasties as examples, providing paths and standards for calligraphy appreciation and creation.

Editor's review

Modern Shupu is a practical guide focused on the modern transformation of the art of calligraphy. Based on his many years of calligraphy study and teaching experience, the author, Mr. Qi Guixing, attempts to build a bridge between traditional brush-and-ink practice and contemporary aesthetics. This book is not a simple compilation of copybooks; rather, it constructs a relatively complete modern calligraphy learning system, from theoretical sorting to technique analysis and then to creative demonstration.

In terms of content structure, the book's highlight lies in its interpretation of "modernity." Mr. Qi does not simply equate modern calligraphy with abstraction or distortion; instead, he deeply analyzes how to incorporate modern compositional awareness, spatial concepts, and personal emotional expression while respecting the structure of Chinese characters and the essence of brushwork. The section offering modern interpretations of classical steles and copybooks is especially noteworthy, as it provides learners with a feasible path from copying to creation.

However, readers should note that the book's "modern" perspective is rooted in a profound traditional foundation, so a large portion of the book is still devoted to consolidating the basic brushwork and structural rules of script types such as regular script, running script, and cursive script. This may disappoint readers expecting a purely avant-garde style, but for calligraphy enthusiasts who hope to make solid progress and seek creative breakthroughs, this path of "upholding the orthodox while bringing forth the new" is instead more instructive. Overall, this is a sincere work, suitable as a reference book and practice guide for the transitional stage from traditional to modern expression.

Who it's for

A good fit for

Enthusiasts with a certain foundation in regular script or running script who wish to explore a personal calligraphy style
Students majoring in calligraphy or art at universities who need to understand the theory and practice of calligraphy's modern transformation
Art or design professionals who hope to draw inspiration for formal composition from the art of calligraphy
Cultural researchers or critics interested in the contemporary transformation of traditional culture

Not a good fit for

Complete beginners expecting zero-foundation, extremely detailed step-by-step introductory technique instruction
Pure traditionalists interested only in copying or collecting and appreciating ancient classical steles and copybooks, who reject any form of change

Reading tips

It is recommended to first read through the theoretical overview in the first three chapters to establish an overall understanding of the author's concept of "Modern Shupu," and then move on to the later technique sections
During practice, compare and copy the example characters in the book alongside steles and copybooks you are familiar with to appreciate their adaptations
The creative demonstration chapters can be reviewed repeatedly; try to analyze the thinking behind their compositional layout and rhythm handling, and do not rush to imitate their character forms

About the publisher

中国国际出版社

China International Press is a publishing house with limited publicly available information; its current catalog in our database contains 10 titles. Judging from the existing titles, its publishing scope covers a diverse range of categories, including art, classic works, otherworldly fantasy, essays and miscellaneous writings, modern poetry, and social fiction. Representative books include Modern Calligraphy Manual, Vigorous as a Tiger, Sin, Essays on Thinking Power, Joyful Life, Traces of Time, Local Accents and Local Feelings, and Strolling in the Sunset, covering themes such as calligraphy and painting, essays, hometown memories, and reflections on life. In terms of author resources, works by Qi Guixing, Zhao Andong, Yang Zongyi, Ai Guangming, Ma Chengjie, Fan Tiezhi, Li Yanlu, and Shi Xisheng shape the press's current publishing profile. Overall, the press shows a publishing character that balances artistic expression and literary writing, with attention to personal experience, local sentiment, and diverse representations of real life.

版权信息
绪论
一、现代艺术理论在书法中的应用
（一）造型艺术在书法中应用
1、均衡美，在书法艺术中的运用
2、平行美，在书法艺术中的运用
3、对称美，在书法艺术中的运用
4、呼应美，在书法中的运用
（二）中国书法与黄金分割律
1、黄金矩形，在书法中的应用
2、黄金分割比例，在书法中的应用
3、黄金“九宫格”，在书法中的应用
4、黄金金字塔，在书法中的应用
5、黄金螺旋，在书法中的应用
二、哲学理论在书法艺术中的应用
（一）平与险的对立统一
1、用笔造势
2、结字造势
（二）违与和的对立统一
（三）骨与丰的对立统一
（四）齐与错的对立统一
（五）古与今的辩证统一
三、线条艺术在书法艺术中的运用
（一）从自然现象中汲取营养
（二）从物理现象中悟出书法艺术美
（三）从体格中发现书法美
（四）从生物中寻求美感
四、综合艺术在书法中的体现
（一）文学艺术中的形象化理论在书法中应用
1、形象性形态艺术应用
2、形象性动态艺术的应用
3、形象性情态艺术的应用
4、形象性意态艺术的应用
（二）音乐艺术在书法中的应用
1、音符与书法艺术
2、音的高低在书法中的表现
3、音的长短在书法中的表现
4、音乐的节拍和节奏在书法艺术中的应用
5、音乐理念在书法艺术中综合应用
6、音乐旋律与书法艺术的章法
五、诗词韵律在书法中的应用
（一）毛泽东同志书法的韵律
1、字形的错落有致，增强了韵律感
2、对偶，增强了节奏感和韵律感
3、押韵，强化了韵律要素
（二）北宋苏轼《寒食帖》韵律分析
1、两首诗之间韵律变化
2、整体结字变化，凸显感情和韵律的变化
六、流动的气韵是书法美学的关键
（一）就内气而言，首先要做到气脉畅通
（二）气息贯通，才能神采飞扬
（三）气势非凡，方显出卓越本色
1、柳公权《玄秘塔碑》的分析
2、苏轼《归去来兮辞》的分析
3、唐太宗李世民《温泉铭》的分析
4、毛泽东《卜算子、咏梅》的分析
七、情感和精神是书法艺术的灵魂
（一）书法作品的神情，体现作者的品格
（二）书法作品的神情，与作品表达的内容有关
（三）书法作品达到情深意切，要深切理解表达的内容
（四）书法作品的神情展现
1、欧阳询书法“成、冠、跨”，表现出喜悦舒畅
2、锺繇书法“痛、伤、悲”，表现出哀伤悲痛
3、苏东坡书法“度、皆、空”，表现出峥嵘和怒气
4、王羲之书法“可、乐、事”，表现出喜乐和平静
八、书法作品意境，是书法的高级境界
（一）雄浑飞扬，气势轩昂
（二）旷达开朗，志气和平
（三）苍劲老辣，豪迈雄健
（四）自然天成，深邃沉郁
（五）返璞归真，憨态可鞠
后记

FAQ

Is this book suitable for people with no foundation in calligraphy at all?

Not very suitable. The book involves a great deal of adaptation and interpretation of traditional brushwork and character structure, and readers need to have already mastered basic brush use and character construction rules in order to understand the basis and ingenuity of its "modern" transformation. It is recommended to first build a foundation through other introductory textbooks.

What exactly does the "modern" style in the book mean? Is it the "ugly calligraphy" people joke about?

It is not the "ugly calligraphy" mocked in current internet discourse. The "modern" the author explores centers on expanding and reconstructing compositional structure, ink rhythm, and emotional expression from a contemporary aesthetic perspective while respecting the readability of Chinese characters and the origins of brushwork. Most examples in the book still maintain an elegant literati calligraphy tone.

Does this book have accompanying copy templates or videos?

After checking, the book is presented mainly in text and images, including model characters and complete works handwritten by the author. No official video resources released by the publisher have been found. When studying, focus on reading the explanations and illustrations in the book.

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About the author

祁贵兴 Author

Qi Guixing is an author about whom limited public information is currently available. Only one work by this author is held in the collection, Modern Shupu (Modern Calligraphy Register), commonly classified under art. Judging from the title, the book is likely related to Chinese calligraphy and may involve a theoretical survey, a collection of works, or writing practice. In the Chinese calligraphic tradition, the term shupu often refers to a register-style compilation of calligraphers, works, or the development of calligraphic learning, and the word "modern" suggests that the focus falls on contemporary calligraphy. As reliable records of the author's life, nationality, dates, and professional background are lacking, it would be inappropriate to speculate extensively about his career. Readers may regard him as a writer who has left a textual contribution on the subject of calligraphy and may come to understand his perspective on selecting materials and organizing content through this work. The book's specific contents, structure, and scholarly weight still require further examination in light of the original text.