Ontological Interpretation Of Chinese Character Aesthetic

"Hanzi Aesthetics" is a utterance of Chinese philosophy and a basic thought in world philosophy."Hanzi Aesthetics" shows a heterogeneous power of discourse completely different from "Logocentrism",which has been existed and exerted continuous influence for thousands of years but is unknown to people.The thought of "Hanzi Aesthetics" resides in the common apperception instinct of all mankind,and is continuously suppressed and covered up by language logos.In the current world where phonetic script pattern are prevalent,only a few characters such as Chinese and Dongba characters retain this basic thinking structure.Therefore,the interpretation of the ideological value core of Hanzi aesthetics not only has the realistic significance of carrying forward Chinese traditional culture,but also has the important significance of opening up the philosophical way of the world and liberating the mind of the subject.This paper intends to start at the discussion of the ontological concept of "Hanzi Aesthetics",deeply explore the practical significance and long-term value of Hanzi aesthetics as a primary theoretical growth point."Hanzi Aesthetics" is a high-profile topic areas in recent years,the discussion of Hanzi Aesthetics is making robust progress in nearly a decade in domestic.But the thinking about the topic’s direction is too loose to cut into the aesthetic essence and philosophical ontology,aesthetics value in "Hanzi Aesthetics" is not yet clear,discussion will be the lack of a core value and thinking criterion.Aesthetics is a secondary discipline of philosophy,and "ontology" is the most basic and important concept in the field of philosophy.It can be said that without a clear definition of ontology,aesthetic discussion cannot be carried out.That’s why I wrote this paper.This paper intends to expand the Hanzi aesthetic noumenon from four angles.The first and second parts are the aesthetic analysis of"the six categories of Chinese characters".This is the theoretical starting point of the full text,in which"pictograph(象形)"is reflected in philosophy as the direct description of objects,and has the logical priority in"Six categories".So in a philosophy of"to the roots"utterance,it occupy the dominant position where closest to the origin.“Pictograph”does not depict the specific image of objective things.It talks about the“Object images物象”and"Xinxiang心象"which is the abstraction reflected by the objective things from Chinese ancestors.Which indicate that Chinese characters have already had the impulse to ask the subject’s heart in origin.The annotation and sign of pictographs characters constitute"Finger-pointing指事"."Finger-pointing指事"is a preliminary transformation of the pure form of"pictograph象形".It symbolizes the beginning of the"natural humanization"of primitive objects in human hands,and at the same time carries on the upward"Understanding会意"."Understanding会意"has two representations.One is that it is more complicated than"finger-pointing指事".It borrows another single character to make a more complicated transformation,which is the advanced form of Chinese people’s transformation of the objective world;The other is the tendency of"paragraph-character"in the text.“Paragraph”is concentrated in the“words”,which makes the meaning and connotation of a word swell instantly.From here on,the aesthetic color of Chinese characters gradually becomes stronger.“Form-sound形声”creatively absorbs the dimension of"character and sound"under the guidance of"convergence"and"concentration".With the assistance of“Right form way”,Chinese characters become a collection of sound,form and meaning.Thus,the aesthetic spirit of“multi-dimensional graphic system of multi-level meaning and connotation”gradually takes shape.“Form-sound形声”marks the maturity of the logic of Chinese character formation in its evolution.“Jiajie假借”and"Zhuanzhu转注"are the methods of borrowing forms,sound and meanings of Chinese characters from each other.There are so many arguments in past that we can not give a definition to them.In this paper,we adopt Sun Yong Chang’s“Theory of Zhuanzhu转注”to unify the“Jiajix假借”and“Zhuanzhu转注”,and clarify that the meaning components of morphemes are combined according to the principle of"interest"and implicitly related to other characters.The“Zhuanzhu转注”allows the meaning of the characters to go beyond the constraints of the character itself and climb into the realm of other characters at the guidance of aesthetics,thus leading to the next step in the aesthetic proliferation of Chinese characters-textualization.Chapter 3 focuses on how Chinese characters constitute the visual representation process of"image"within themselves.The aesthetic evolution of the“the six categories of Chinese characters”shows a changing process from"Object images物象""images of finger-pointing""image of nature""images of meanings"and"images of things",and finally"imagery".Single characters can only reveal isolated metaphorical structures,but when the characters are combined into words,the"imagery"can be linked to the scene.As the text continues to expand,the aggregation of imagery can be linked across segments,and when the quantity becomes qualitative,the convergence of"imagery"will eventually produce"artistic conception",which crosses from words into the textual realm.It is important to note that this proliferation process is always guaranteed by the value of the“the six categories of Chinese characters”based on the principle of multidimensional meaning composition,so that the Chinese text can avoid falling into the trap of"kitsch"in creation,which also shows that the aesthetics of the Chinese text is rooted in the internal mechanism of the Hanzi aesthetics.The fourth chapter continues along the same lines,as the textual realm of Chinese characters reaches its ultimate point,it naturally spills out in the form aesthetics,thus forming the unique art of calligraphy.The aesthetic value of calligraphy resides in the aesthetic constitutive archetype inherent in the Hanzi aesthetics,except that the main form is the operation of the layout of flat lines rather than the temporal reading of the text,and calligraphy is concretely embodied in the takeover of temporality by artistic spatiality.The spatial art opens up the realm of the aesthetic expressiveness of Chinese characters in three dimensions: beauty of the eye,beauty of humanity,and beauty of nature,all of which are further subdivided in more detail in this paper.The final conclusion is that calligraphy is the freest and richest of human arts,combining spatiality and temporality.The fifth chapter defines and forecasts at the art of Chinese characters in a broad sense.As social life continues to be enriched and various modern technologies are being applied to our lives,many modern forms of Chinese character art are being created.From the core of this article,we combine the "modernity" of modern art with the multidimensional nature of Chinese character art,and point out that the future development of Chinese character art should not be divorced from the original nature and purpose of Chinese characters themselves.In this way,the paper reviews several representative contemporary Chinese character artists and appreciates their works.