| The art of calligraphy is an essential component of Chinese traditional culture.The ecological aesthetic research of calligraphy art can provide us a deeper understanding of the ecological beauty and profound philosophy of Chinese traditional culture.The accomplishment of calligraphy art is unrivaled in the period of Wei-Jin,Tang and Song dynasties,with Wang Xizhi,Yan Zhenqing,and Su Shi as the paramount calligrapher in each era,respectively.In this thesis,by analyzing the three levels,namely structure,connotation,and development,of the masterpieces of these three calligraphers,we primarily unveiled the historical characteristics and evolutional flows involving the “beauty of neutralization” of calligraphy art in each dynasty.In the Wei-Jin ear,advocating nature was the aesthetic trend of the times,and people were in harmony with nature at this time.Therefore,the art of calligraphy expresses the natural charm.The beauty of neutrality is presented as the natural "beauty of rhyme".In the Tang Dynasty,national power became more and more prosperous,and people were harmonious with society at this time.Calligraphy not only presents the social style,but also conveys the spirit of the main body,and the beauty of neutrality is presented as the broad "beauty of residence".From the mid-Tang Dynasty to the Song Dynasty,the country’s atmosphere gradually became introverted,when people were in harmony with themselves.Calligraphers turn to the expression of self-personality and the perception of life experience.The beauty of neutrality is presented as the inherent "beauty of life and interest".The beauty of calligraphy is constantly changing,and the beauty of neutrality exemplifies the core aesthetic value of calligraphy.In the era of ecological civilization,the art of calligraphy exerts its classic form of ecological aesthetic education,and provides traditional cultural carriers and aesthetic media for the ecological and artistic survival of the public. |
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