"potential", "meaning" Bone "god"

It was the eras of Han, Wei and LiuChao when aesthetical sense of calligraphy's theories arose."The art of calligraphy produced fairly systematical theories even in the end of Donghan Dynasty. And compared with the arts of language and music, calligraphy as a different art form enriched and developed Chinese aesthetics in a very important perspective."(Zehou Li). Calligraphy theories of Han Dynasty were based on the consciousness of calligraphy aesthetical sense of this period when artist not only created abundant calligraphy styles but also put more attention to "posture" which decides one Chinese character's structure. At the same time, calligraphers especially emphasized expressing their subjective feelings through calligraphy because they highly admired creative freedom. This conclusion can be seen from Caiyong's works---"calligraphy discussion" where he paid attention to "YI" and "SHENCAF".That calligraphers of Han Dynasty paid attention to "posture" and "SHENCAI" deeply affected WeiJin's calligraphy theories. During this period, calligraphers furthered the research of "posture" and "SHENCAI". In addition, under the influence of academic air of "personality evaluation ""and "argument between word and meaning ", "GU" and "YI" were placed to great extent much more attention than before. Those aesthetical thoughts of calligraphy were unfolded and developed in more detailed ways by Xizhi Wang and Furen Wei.During South and North Dynasties, the theories of calligraphy became more conscious, the research of calligraphy exceptionally flourished. In this era, "YI" was the most important conception in all calligraphers' eyes. In South Dynasty, YangXin, Sengqian Wang, Yuanang, Xiaoyan and other calligraphers created and set up a set of calligraphy criticism patterns which were marked with the core conception "YI" and combined the two conceptions ----personality evaluation and art appreciation together. The understanding of "GU" became more and more mature. The discussion of "SHENCAI" also became more completed. The improvement of understanding about calligraphy phenomena and calligraphy aesthetical thoughts and calligraphers' different evaluations of "ZHONG, ZHANG and the father and son "XI and XIAN" together resulted in the argument about "the older the plain, the newer the fancy". The argument was continuously developed through Yuhe and Sengqian Wang, Emperor Liang—XiaoYan's efforts and played an important role in the arisen of later argument about "the older the plain, the newer the fancy".This article analyses the development of calligraphy aesthetical thoughts during HAN, WEI and LiuChao from "posture", "YI", "GU" and "SHENCAI" and other aspects. The article is divided into four chapters: the first one is that how Ru school, Dao school, Buda school and Xuan school affected the logical development of calligraphy aesthetical thoughts during HAN, WEI and LiuChao. And then the other three chapters discuss the logical development of calligraphy aesthetical thoughts during HAN, WEI and LiuChao, in otherwords, they are:1)The burgeon of conceptions of "posture" and "YI"-----Calligraphyaesthetical thoughts of Han Dynasty, 2) the development of conceptions of "posture" and "YI" and admiration of "FENG GU"---calligraphy aesthetical thoughts of WeiJin Dynasties, 3) the mature of "YI", "GU" and "SHENCAI" and argument about "the older the plain, the newer the fancy"----calligraphy aesthetical thoughts of South and North Dynasties.