The Evolution Of “ugly” Category And Its Aesthetic Mechanism In The Aesthetic History Of Calligraphy

"Ugliness" is a very influential category in the history of Chinese aesthetics,and also one of the important standards of calligraphy criticism in ancient and modern times.On the basis of the existing research achievements in the field of calligraphy aesthetics,this paper aims to discuss the evolution of different forms of "ugly books" in the history of ancient calligraphy aesthetics,as well as the value and significance of "ugly books" to contemporary calligraphy.The article holds that beauty and ugliness are not always opposite synchronic concepts,and that from the examination of "beauty" to the examination of "ugliness",it has gone through a long theoretical history.Through the past dynasties Shu Lun seeks to the tang dynasty as the watershed,the aesthetic category of "ugly" is divided into two stages before and after,five historical periods: before the tang dynasty,"good(beautiful)ugly","the evil"(ugly),"Chi yan" and so on the opposite,but the "workstation" mass "yan" phase and harmonic acceptable since the end of southern dynasty onwards.In the flourishing Tang Dynasty,Dou Ji and Dou Meng regarded "clumsiness"(" not according to the skill ")as beauty,and "clumsiness and ugliness" became a new aesthetic category,which opened the aesthetic process of examining ugliness.Huang Tingjian and Mi Fu in the Song Dynasty have marked this,and finally established the aesthetic status of "clumsy ugliness",which is the third period of calligraphy examination of ugliness.Since then,there have been differences in the cognition of the beauty and ugliness of calligraphy,but with the rise of stelology,the study of beauty,beauty and beauty began to be universally questioned and criticized.The "sublime beauty" represented by Wei Bei became the fourth historical period of the form of ugly books.In the Republic of China,the "weird" style of the North Tablet refreshed the ugly and lofty beauty of the Wei Tablet.The fifth historical period broke out the "ugly book" dispute.At the same time,combining with the current situation of the development of "ugly books",this paper puts forward the standard of aesthetic value of "ugly books" and interprets the aesthetic orientation of "ugly books".In a word,this paper,by summarizing and reviewing the development of the aesthetic category of "ugly" calligraphy,recognizes the aesthetic history of ugly books and the diversity of ugly books’ forms,and hopes to enlighten the contemporary study of ugly books.