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General Secretary Xi Jinping at the 11th National Congress of the Chinese Federation、Pointing in important speeches at the top ten opening ceremony of the China Writing Association，"The national characteristics of literature and art reflect the cultural recognition of a nation"。In many literary categories，Calligraphy is undoubtedly the most national characteristic artistic style。Calligraphy aesthetics based on the art of calligraphy，It is a academic discourse that adheres to the traditional Chinese research paradigm。strengthens the strengthening of Chinese and Western ideology, culture and academic exchanges，From the grand perspective of world culture, viewing the aesthetic mechanism of Chinese calligraphy art，While showing the national characteristics of this traditional art，It can also make the theoretical construction of calligraphy and calligraphy criticism.。

　　Express national characteristics

The national characteristics of Chinese calligraphy aesthetics mainly lies in its research object -the uniqueness of calligraphy art。Zong Baihua said，Calligraphy is a national art that expresses the highest mood and sentiment，It can even determine the installment of Chinese art history with the change of calligraphy style。This can be seen，Calligraphy's key position in Chinese art history，and this important position is based on its nationality。In other words，Calligraphy is an artistic style that best represents the spirit of the Chinese aesthetic and artistic spirit。

Calligraphy as an expression of art，Not through its symbolic table meaning，Instead of expressing emotions through its aesthetic form or aesthetic grammar。From its media perspective，The reason why pen and ink can rise into an important category of calligraphy aesthetics，It is because they are not only a tool for writing，The aesthetic realm determined by its media characteristics。The national characteristics of pen and ink are not only fully demonstrated in calligraphy aesthetics，Also received full attention in the theory of painting。This involves an important feature of traditional calligraphy aesthetics: the mutual reference between calligraphy and other art categories。

Chinese painting theory Bet365 lotto review emphasizes "painting and painting"，In the revealing the aesthetic mechanism of traditional painting，often uses calligraphy as a reference。For example，Zong Baihua pointed out，The space structure of Chinese painting is a kind of "space creation of calligraphy"。So，What is the expression of calligraphy space? It is not the arrangement and displacement of Chinese character symbols in the sense of pure space，Instead of a time -like rhythm。Therefore，Calligraphy art has strong music and dance。This spatial structure features of calligraphy art，It is the concrete manifestation of the unique way of "space time" in the spirit of Chinese art.。Sun Guoting wrote in the Book of Book: "Really painted as the form，Turn into emotionality; grass uses point painting as emotional，Make it to the form "，Compare the form of Kai Cao diodes and emotional implementation。According to this，Zong Baihua rather the regular beauty of the case as a building -style classical beauty，The romantic beauty of the dance -type romantic beauty is attached to the grass。

The relationship between calligraphy and literature is even more difficult。Calligraphy art is mostly based on poetry.，Book Theory also has literary requirements。Hanmo itself complement the criticism article，It is the ideal of the book of Zhang Huaizheng and practice。Dou Yan's calligraphy style category listed in the "Book Fu" has a large number of reunion in the scope of poetry in Poetic "Poetry"。Another，From the perspective of writing styles and constitutions，"Twenty -Four Poems" seems to be affected by the "Book Fu"。

Another important feature of traditional calligraphy aesthetics is that it shows the strong meaning of natural life。The unity of heaven and man in Chinese philosophy emphasized the symbiosis of the same law of man and nature，Internalization of nature。Calligraphy aesthetics regards calligraphy as life、The form of expression that can reflect the vitality of natural everything。

First，In creative theory，Chinese calligraphy aesthetics emphasize the harmony between calligraphy art and nature。Han Yu believes，Zhang Xu Cursive "Change the Ghost God，Unrestrained artistic realm，The result of "watching things"。Sun Guoting also proposed in the "Book of Books".，The ability of non -power transportation "。but but，"Calligraphy Nature" in bet365 Play online games the sense of creative theory has essential differences with the traditional imitation theory of the West。"Calligraphy Natural" concept is created by the natural image triggered by the phenomenon，Not imitation、Reflect or express nature，but has a natural spirit。

Next，Traditional calligraphy aesthetics uses a lot of natural objects，Xiong Bingming summarizes this feature as "metaphor"。Metaphorical or describing the beauty of calligraphy art，It has a long history in calligraphy aesthetics。Li Si has "send your feet to swim the fish，The image of the dance pen is like Jingshan Xingyun "; Cai Yan not only uses natural objects to metaphorize the image of books such as Cui Yan，Also expressed this claim in its "Pen": "，Fang's Book of Books "。Zhong Yan has a summary of "see all categories of all categories"。The natural objects used in "Pen Fu" include: Long Sky Corps、Falling Valley、Tori East Note、New Mountain temporarily plugged、Shooting Bird、Long snake、Flying Flowing Flowers, etc.。Calligraphy aesthetics elaborates the nature of calligraphy art in a natural object、Aesthetic features and style of each book body，and literary theory、Painting theory, etc., constitutes the characteristics of experience and poetic expression of classical aesthetics of Chinese classical aesthetics，This is very different from Western Specific theoretical Construction Statement。

Although calligraphy aesthetics is a aesthetic exploration of departmental art，But it has the universal meaning of traditional Chinese aesthetics。60 years ago Zong Baihua proposed，"We can also get several categories of Chinese aesthetics from the structure of the ancient people's calligraphy，This can be used for comparison with the category of Western aesthetics，View its difference，Aesthetic content to enrich the world "。From now on，This job seems to still "yet to start"。As the category of "potential" in Chinese aesthetics，First transition from the "potential" of the military law to calligraphy，Book theory since the Eastern Han Dynasty took more "potential" as the title。In the theory of painting theory, the theory of "potential" is the earlier to count Gu Kaizhi's "On Painting"，Principles of the painting structure layout of "setting up" by borrowing military law，It has the same magic with book theory。"Top" appeared more than 40 Bet365 lotto review times in "Wen Xin Eagle Dragon"，And there are "settings" articles。Many scholars think，The "potential" of poetics comes from the "potential" of the book theory。According to the current information,，From the "potential" of the military law to the "potential" of aesthetics，Start with calligraphy art。This can be seen，Construction of Chinese Aesthetics Theoretical System from Calligraphy Aesthetics，Not only feasible，It's even more urgent。

　　Realizing modern transformation

No doubt，In fact, in terms of state，Compared to literary theory、Painting theory and philosophy aesthetics，Calligraphy aesthetics is less impacted by Western theoretical thoughts and the rules of modern research paradigms，It has maintained its traditional nature、National characteristics。But from the perspective of Ying Ring,，Calligraphy Aesthetics needs to break through the image of traditional book theory on the issue of seeking the theory and aesthetic mechanism of calligraphy art、Experience and perception criticism，Realizing modern transformation。At the end of the "Chinese Calligraphy Theoretical System"，Xiong Bingming proposed that under the impact of Western culture，The system that needs to break through the traditional book theory、Concept and Method，"How to use new tools to sort out past theories，Create a new system，How to try new possibilities in the field of creation，Seeking a new road，Write a new ink elephant，Exhibition Explore New Realm "，This actually proposes important topics to realize the modernization of calligraphy aesthetics。

The modernization of calligraphy aesthetics is reflected in the two aspects of the way and the innovation of the way to Zi Zhi Road。In terms of method and method，Calligraphy aesthetics since modern times has broken through the traditional book theory.、Reactions、Rhetoric comment method，Logic speculation、Modern academic paradigm and other modern academic paradigm integration of the ethnic art form of calligraphy of calligraphy，Ruliang Qichao、Zhang Yinlin、Zong Baihua、Lin Yutang, etc.。Since the new period，The field of calligraphy aesthetics is more fascinated by Western learning methods and even lost。where，In the background of the methodology of various disciplines，Some methodology of some "Ten Gold Oil" style inevitably performed in calligraphy aesthetics，such as "three major theories"; but some scholars use Bet365 app download visual perception、Form Analysis、Symbolology and other methods to discuss calligraphy art，Great breakthroughs。On the road to Zhisi，The abstract characteristics of the art of calligraphy and the deep mechanism of image presentation，"Climbing Step"，It is an important foundation for the modernization of calligraphy aesthetics。

Xiong Bingming advocates absorbing and reference foreign concepts and methods from two aspects of rationality and reaction，The premise is that the abstraction of calligraphy art is similar to Western abstract art。Specifically，With the help of Western modern visual psychology (format psychology、Modern experimental psychology, etc.)、Surrealism、Abstractism and other theories and concepts，Summarize the law of a set of calligraphy art，Its meaning is not only in the traditional book theory that gives the nation with new understanding，It is also given calligraphy education with new concepts。Related to it，Although Qiu Zhenzhong agrees with the abstract composition of calligraphy，But I also soberly realized，"The analysis of the composition of various visual arts cannot go deep into the deep structure of the calligraphy form。It must establish a new set of analysis tools for the composition of calligraphy "。That is to say，When using Western art criticism methods boldly，We must fully observe the particularity of calligraphy art，Whether it is Chinese characters as the smallest unit，Still time -space characteristics。

Analysis of visual psychology and abstract symbols, tend to treat calligraphy art as a composition，and ignore its generating nature，That is, it is based on the Chinese language physical form -text，Composite text form presented as a composite text of expressive and aesthetics。So，The "deep water zone" that traditional calligraphy aesthetics does not touch，Only by revealing the picture nature of calligraphy art still cannot reach。This needs to return to its simple logic written as a language symbol，That is, calligraphy art is written in Chinese characters as a material，From this perspective of some "modern calligraphy" with "innovation" as the banner，In fact, go to the misunderstanding of imitating Western abstract art。At this time，Language Philosophy、The method of phenomenology is "getting started"。How can writing bet365 live casino games become both visible and appreciated? This is the basic question that has been hanging and unsuccessful in calligraphy aesthetics，It is also the most modern theoretical innovation that is expected to achieve breakthroughs in phenomenology as the method.。On this question，Zhao Xianzhang proposed the concept of "Book Book"。He thinks，"Books‘ Picture Theory ’text will generate book meaning，So the singing and text singing and the singing "。From this，Zhao Xianzhang regards calligraphy art as the crown of Chinese art，The reason is that calligraphy art is the aesthetic signs of the "existence home" of language，Painting is just "the existing thin skin"。He mainly elaborates literary and artistic transformation into calligraphy art，I believe that this transformation from language art to image art，It is related to how calligraphy becomes the fundamental question of art。That's，Zhao Xianzhang believes that the essence of this problem is the invisible literary objects that via the character and turn as a visible book。The proposal of Zhao Xianzhang Literature Book Theory，On the one hand, it is an important exploration of the sexual generation mechanism of calligraphy art，People have not sent before; on the other hand, important thinking about the modernization of calligraphy aesthetics，Paradis conversion in calligraphy aesthetics research has a model significance。

Whether it is Xiong Bingming's abstract styling based on calligraphy art, seeking theoretical resources of Western visual psychology and modern abstraction，It is still Zhao Chances of Calligraphy -based on the ontology of image art to seek deep interpretation in the phenomenal sense，All important efforts for the modernization of calligraphy aesthetics。Nationalization and modernization are two dimensions of calligraphy aesthetic research。where，Nationalization characteristics are both a breakthrough of modern transformation，It is also its logical starting point and "final position"。In other words，When we seek more effective research methods for the national art form for calligraphy,，It is from the national characteristics of calligraphy art and calligraphy aesthetics。Experience of traditional calligraphy aesthetics、The meaning of literary and natural life，itself constitutes the objective object of modern calligraphy aesthetics; from a new bet365 best casino games perspective、New methods, especially Western philosophy、Aesthetic and artistic research methods Cut into calligraphy and artistic theory and visual acceptance mechanism，helps to promote the modern transformation of calligraphy aesthetics。Nationalization and modernization，Pointing to the future of calligraphy aesthetics。

　(This article is the Study Study of Zongbaihua Literature and Art Criticism in China and Western Mutual Visiting Threshold (18BZW032) in the general project of the National Social Science Fund)

(The author is a professor at the Center for Literature and Aesthetics Research in Shandong University)