2016, Vol., No.71

Journal of Chinese Language and Literature 2023 KCI Impact Factor : 0.28

pISSN : 1225-083X
https://journal.kci.go.kr/clsyn

Among the poems of Su Shi who excelled in both poetry and calligraphy, 58 poems on 47 topics which had expressed views on previous calligraphers and calligraphy works were selected as poems on calligraphy, and Su Shi's aesthetic view of calligraphy was analyzed in this paper. Su Shi regarded Wang Xizhi as the exemplar of calligraphers and the Preface of the Orchid Pavilion Poetry Anthology as the exemplar of calligraphy works. Su Shi selected Yan Zhenqing and Liu Gongquan in the Tang Dynasty as the best calligrapher. In contrast, by undervaluing Huai Su and Zhang Xu considerably, Su Shi expressed his distinct view of calligraphy different from the contemporary general perception. Su Shi expressed his own aesthetic view of calligraphy different from that of the Tang Dynasty. Since he perceived calligraphy as the externalization of the knowledge and talent of a calligrapher, he placed emphasis on the self and put weight on handwriting of its own free will regardless of specific handwriting styles, and also placed emphasis on writing points and strokes freely without sticking to certain styles in handwriting. In calligraphy, he objected to valuing only grueling efforts and artificial elaboration, but instead, set a high value on naturalness.

The moral conduct in Shishuoxinyu was deeply affected by metaphysics, built Nature Moral Conduct by mixng Confucianism and Taoism, and the scholars in Late Han Dynasty became modals of moral conduct. The scholars in Wei and Jin Dynasty pursued the original idea of humanity and filial piety on the basis of Nature in daily life. There were two unconventionalities in Wei and Jin Dynasty: one unconven- tionality opposed to the Confucian etiquette and had a consistant goal with the Nature Moral Conduct; another unconventionality was self- indulgent and run counter to the Nature Moral Conduct.

Up to here, how the masculinity was established and realized by the protagonist of <Cry out if You're Happy>, Bianrongda(비엔롱다) was examined. Chili(츠리) expresses a skeptical perspective about the masculinity as a normative ideal through the process in which Bianrongda established the masculinity. In addition, she takes notice of the risk of the masculinity Bianrongda faces, and she anatomizes the duplicity of the involved masculinity. Particularly, Chili suggests the departure from the normative masculinity by leaving the protagonist, Bianrongda. However, there appear some cases of conformity to the hegemonic masculinity of the day at the same time. It is the case in that the male ego made up of leaving is also originally a genderized man and the one to obey the hegemonic masculinity. In short, it is said that Chili suggests an imaginary exit from a boring everyday life as well as reflects the crisis and chaos of Chinese middle-age men in the 1990~2000’s through the loss and recovery of masculinity of Bianrongda. The process exposes the duplicity of the masculinity of patriarchal societies and shows the masculinity can be a privilege and the oppression.