Reflection And Construction Of Contemporary Calligraphy Aesthetics

The ideological trend of Fine Arts in the eighties obviously ignited the fire of the long-pent aesthetic enthusiasm, and with the aid of the good cultural ecology and social structure taken shape in the reform and opening-up, triggered a huge aesthetic fire. The discussion of the calligraphy modernity was inspired to start by this atmosphere; the mobilization of aesthetic modernity was rapid and extensive; and the enthusiasm for creation and theories was unprecedented in the eighties. What is traditional, modern and postmodern seems to possess a huge space for their survival and development and to apply for the slogans and theoretical support that belong to the respective aesthetic orientation. Many young college teachers, students and social-cultural workers also took part in it and enjoyed it, and triggered a wave of climax in the1990s.Interestingly enough, history is like a smart master of Changing Faces. After the turn of the new millennium, the calligraphy aesthetics immediately pulled down the faces of modernity and post-modernity, replacing them with the stunningly similar traditional faces. Although once passionately engaged in calligraphy’s modernity research, the forced or willing waiving of radicalness and pioneering made the theorists and creators come back to the traditional range one way or another. The rapid relaxation of the traditional and modern tension makes the research on the calligraphy aesthetic modernity that started at the beginning of the20th century stop at the1980s and1990s. Many people expressed frustration and they were starting to ask why it is so difficult for the advancement of the calligraphy aesthetic modernity. Why can’t the calligraphy aesthetic modernity and post-modernity survive on the mainland in the new century? Why do the people who show great enthusiasms in many other areas are so conservative, not even afraid to put themselves under the traditionalist position so that the discussion and research of the calligraphy aesthetic modernity could only seek shelter in the university’s institutions after the entry into the millennium.Obviously, the tension derived from the traditional calligraphy aesthetics and modernity and its complexity is far beyond our imagination and expectation. Therefore, while the reconstruction and reflection of the history of the discipline among many other disciplines such as literature and fine arts have become outdated, the writer is not afraid of sharing his humble opinion by trying to reflect on the range and status quo of the traditional calligraphy aesthetics and modernity through the analysis of the relationship between the tradition of calligraphy and modernity, the traditional interior, and modernity, and hope through the combing of theories to seek what has been overlooked by theorists or obscured by history with a view to constructing his own system of logical analysis and to pondering on the possibility of the future development of calligraphy modernity from a new perspective.Undoubtedly, if the contemporary Chinese calligraphy wishes to obtain a new life, it must get the help of the form of modernity to summon the ancient aesthetic soul. The ancient aesthetic soul co-existing in the dimension of "Yige" calligraphy aesthetics is linked to the ancient witch culture and responds to the natural life rhythm of the universe, and is connected with literary culture and its spiritual imagination of agricultural civilization, which also runs through China’s thousands of years of civilization. So, no doubt, it is advocated that the reconstruction of the contemporary calligraphy aesthetics must return to "Yige". Creating a new pattern of contemporary calligraphy aesthetics by returning to "Yige" is the final purport of this paper.