Abstract

Main purpose of writing the theory of traditional Chinese calligraphy and the aesthetics of the tasting. Guan Huai this paper with calligraphy written by the three articles about the judge: "The book estimated" , "book discussion" and "off book" , to analyze and compare, to explore the Huai Guan Calligraphy the meaning of art evaluation standards, and from the material and spiritual level, the level of ideology, and to compare the level of aesthetics, the art of calligraphy to resolve Guan Huai theory was used or implied in the discussion among the items in the quasi-judge. In this paper, the material from the works of the ancient nature of the business-level analysis of Chinese judge at the aesthetic criterion of significance, followed by political and ideological level, that level of product is poor artists with political, ideological, market, art between dialectical relationship, and finally, in the aesthetic level of research, according to classification of the words system and the paradigm of the word system, the distinction between interpretation Huai Guan "book off" in the tasting words of the two systems, and in cursive, for example, of the book body aesthetics criterion. In conclusion, this paper shows that Guan Huai tasting Chinese calligraphy treatises on the aesthetics of the contribution, and pointed out the similarities between Chinese and Western aesthetics and tasting the difference. The topic of this paper concerns the problem of evaluation and classification in Chinese art, through the study of several treatises on calligraphy by Tang dynasty Zhang Huaiguan and especially his Judgements on Calligraphers and Trade Estimations on Calligraphers . Zhang Huaiguan's texts are representative of Tang aesthetic thought and art values, that is why the efficiency of evaluation and the criteria of value can be analysed in their functioning. In the paper, the questions concerning whether these criteria are purely aesthetic or not, so to say without any ideological or material consideration, are examined. The first part of the article focuses on the material and on the ideological and political criteria, linked to the tradition of official classifications . It underlines the specificity of Chinese evaluation, centred on the artist and not on the artwork. The artistic and aesthetic values ​​are thus examined in a second part, through the meaning of a chosen model. Then, a specific stylistic example is studied in a determined class, and it shows the pre-eminence of the criterion of newness. These classifications and evaluations aim and role deserve both merchants and literati. The several criteria and art values ​​that Zhang Huaiguan uses in his treatises would seem to be incompatible in Western countries , but these texts show clearly they are not mutually exclusive and can be very efficient