The Realm Theory Of Calligraphy

Calligraphy is a form of culture that uses Chinese character writing as a medium to express human emotions through meaningful strokes,lines and other forms of ink.Calligraphy,in terms of its name,is a method of writing.However,during the late Han Dynasty,as well as Wei and Jin dynasties,the handwriting evolved from a practical field into an art that could convey emotions and ideas.Practical handwriting emphasizes convenience.Although there are some factors of beauty,this kind of beauty is more practical and universal.As an artistic form,calligraphy shows the individual spirit and interesting beauty of the calligrapher,and is a life world of the calligrapher’s personality.In this way,calligraphy also has a realm.The individual’s spirit and taste are shaped in the unique context of Chinese culture.In Chinese educational class,Confucianism,Taoism,which emerged from the “Axis Age”,and the Buddhist ideology introduced to China at the end of the Han Dynasty jointly shape the spiritual world of Chinese people.However,each culture has different impacts on people,which also affect the character and spirit of calligraphy art,thus resulting in differences in realm.The aesthetic character of calligraphy is based on the philosophy of life.Confucianism holds a dominant position in social ruling ideology,therefore it has the most profound impact on society and culture.Confucianism believes that in this constantly evolving world,human beings are at the center,and as the spiritual beings between the heaven and the earth,they must fulfill their ethical obligations and moral responsibilities.Under the nourishment of“benevolence”,one should become a person with the character of “gentleman” and cultivate the ideal personality of “gentleness and sincereness”.Confucian calligraphy aesthetics understands calligraphy from the perspective of life,and under the influence of this ideology,calligraphy should also possess the aesthetic character of “gentle and sincere”.The expression of emotions should comply with rational norms,and all elements in form should achieve harmony and unity.The highest ideal is the harmonious beauty of “neutrality”,and it is believed that “goodness” is a more important category than “beauty”.The calligraphy of the early Tang Dynasty not only embodies the beauty of “neutrality” in Confucianism,but also was influenced by the metaphysical legacy of the Wei and Jin dynasties,achieving a new balance between “beauty” and “goodness”,forming a peak in the history of calligraphy.The most ideal principle of Confucianism is “neutrality”,but due to different personalities and experiences,people often deviate from the “neutrality” principle.In addition,as a calligraphy art,being too “neutral” often leads to a loss of interest and personal beauty.In the Book of Changes,there is a distinction between “yin” and “yang”,hardness and softness,and this is also true in calligraphy.Those who lean towards “yin” and softness form a beautiful style,while those who lean towards “yang” form a powerful style.Traditional culture has a strong and down-to-earth aspect,therefore,it leans more towards a vigorous style in aesthetics.Those calligraphers in the midst of life’s difficulties,using emotions to express their works and expressing their aspirations through works,have also achieved astonishing works with the frustration in their writing.In real life,people are often influenced by multiple cultures,or the combination of Confucianism and Taoism forms a character of “Confucianism and Taoism complement each other”,or is close to Buddhism,or has thoughts of Confucianism,Taoism,and Buddhism.On the one hand,they are rooted in Confucianism and actively strive for success.On the other hand,they cultivate their character through the philosophy of Taoism and Buddhism.Calligraphy is a way of cultivating their character.The “Tao” of Taoism emphasizes natural inaction.Buddhism values “truth” and “original intention”.Although Taoism and Zen philosophy are not the mainstream of culture,they have the most profound impact on culture and art.They do not lead people towards religious beliefs,but towards an aesthetic attitude towards life.The categories of “lightness”,“easiness”,“naturalness”,and“clumsiness” in calligraphy aesthetics are all related to Taoism and Buddhism philosophy.Taoism regards “naturalness” as its highest principle and acknowledges the rationality of the existence of all things.In the view of Taoism,humans belong to “naturalness”,which is the spiritual home of humans.Only by integrating with “nature” can humans obtain lively vitality.In addition,the inner spirit and temperament of a person are also “naturalness”.Under the influence of this ideology,calligraphers do not deny the importance of learning and accumulation,but they believe that after possessing a high level of skills,they must break free from the constraints of laws and enter the realm of “Tao” through “purifying the heart”,“be oblivious of oneself and one’s surroundings”,etc.From reality to emptiness,the realm also becomes ethereal.Taoism follows human nature and is natural,therefore,the unique personality and temperament of calligraphers can be seen in writing.Under the influence of the “metaphysics” ideology,scholars in the Wei and Jin dynasties did not give up their responsibility to society on the one hand,and on the other hand,expressed the sadness and joy of life through nature and art,forming the calligraphy style that best represents the “Wei and Jin style”.The literati calligraphy style represented by the “Four Schools of Song” in the Song Dynasty formed their own style in the “My Calligraphy is unlimited”.Their calligraphy is a natural expression of the true temperament of literati.After the Song Dynasty,as calligraphy,which was dominated by calligraphy,became increasingly beautiful and declined,calligraphers sought new qualities in Han and Wei stele carvings,allowing calligraphy to return to natural aesthetics.In philosophy,Zen “assists Zhuang and enters Buddhism”,which requires people to break away from their obsession with concepts,rules,etc.,see eternity in an instant,and achieve a complete understanding of life.The intuitive way of viewing objects in Buddhist philosophy allows calligraphers to see their true nature,and the realm of calligraphy is even more ethereal and detached.Especially the most transcendent character of“Yi” is reflected in two extreme forms: “crazy” and “light”.The cursive script of “Dian Zhang Zui Su” stands in stark contrast to Badashanren and Master Hongyi.The concept of“Youxuan” is a category in Japanese calligraphy aesthetics,which is more deeply influenced by Buddhism thought.It goes deeper than the concept of “simplicity” in Chinese calligraphy and enters a state of desolation.Calligraphy is a part of the organic life of ancient people,the pursuit of calligraphy is also their journey of constantly surpassing themselves and realizing themselves in life,and the highest realm of calligraphy is also their highest pursuit of life.The realm theory of calligraphy is not only a description of the realm of calligraphy,but also an explanation of the philosophical and aesthetic foundations involved in the emergence of the realm of calligraphy,as well as the inevitability,possibility,and modernity of traditional calligraphy moving towards modernity in the current transformation of Chinese society from tradition to modernity.The modernization of calligraphy is closely related to the modernization of society and people.Due to its unique society,history,and culture,our modernity is different from that of the West.Calligraphy with “modernity” should be a form of calligraphy established in the cultural spirit of “Chinese characteristics”,with modern spirit and character.