"Mysterious Trick" - Wang Yizhi's Calligraphy Art And Metaphysics

The existence and development of any kind of art is closely related to the thoughts and culture of its time,and so is Wang Xizhi's calligraphy.Therefore,whether it is Wang Xizhi's aesthetic taste,or his academic accomplishment and speech act,are born out of the thoughts and culture of the Wei and Jin Dynasties,with deep characteristics and brand of the times.In the perspective of metaphysics,the in-depth study of Wang Xizhi's calligraphy art is not only of great significance to explore the causes of Wang Xizhi's calligraphy art and its humanistic implication,but also of certain enlightenment to the development path of contemporary calligraphy aesthetics and creation.This paper tries to discuss systematically the relationship between Wang Xizhi's calligraphy and Metaphysics from two aspects of thought and technique.From the cultural point of view,the influence of metaphysics on Wang Xizhi's calligraphy art is not only reflected in the fact that most of his works are related to Lao Zhuang's metaphysics,but also in his aesthetic ideal and way of thinking.From the perspective of techniques,Wang Xizhi learned from nature and abstracted the aesthetic feeling of natural objects into stippling of calligraphy by means of artistic forms such as weight,priority,size and density.Therefore,it can be said that Wang Xizhi's calligraphy art is the specific form and carrier of metaphysics.Based on the influence of metaphysics on Wang Xizhi's calligraphic art,this paper studies the aesthetic characteristics of Wang Xizhi's calligraphic art,such as advocating rhyme,deep feeling,attaching importance to meaning and advocating nature,from the four aspects of metaphysics,such as character appreciation,sage's feeling and ruthlessness,distinction between words and meaning,and view of nature,and deeply analyzes the internal relationship between Wang Xizhi's calligraphic art and metaphysics.First of all,this paper analyzes the influence of metaphysics on Wang Xizhi's calligraphy from two aspects: the inheritance of family studies and the background of the times.Under the influence of metaphysics,the awakening of the individual consciousness of the celebrities in the Wei and Jin Dynasties aroused the consciousness of literature and art,which made calligraphy an independent art form and made it possible for Wang Xizhi to make outstanding achievements in calligraphy.Moreover,the inheritance of Wang's family studies laid a solid foundation for the formation of Wang Xizhi's calligraphy thoughts and style.Secondly,Wang Xizhi's style of advocating "Rhyme" comes from the character's taste in Wei and Jin Dynasties.In the Wei and Jin Dynasties,metaphysics flourished,and "Wu" was raised to the status of ontology.It attached great importance to the spirit and reason,but left the form.Thus,it formed the personality ideal of "Yun".This style of advocating "Rhyme" was gradually introduced into the art of calligraphy,from the beauty of characters' personality to the beauty of calligraphy,which opened the style of advocating "Rhyme" in the Wei and Jin Dynasties.The calligraphers of Wei and Jin Dynasties not only expressed their life sentiment and personality ideal through the calligraphy art with personal charm,but also introduced the categories of "muscle","bone","blood" and "flesh" into the calligraphy theory and criticism,integrating the relationship between calligraphy and life,forming the aesthetic paradigm of using people to describe calligraphy.As a representative calligrapher in the Wei and Jin Dynasties,Wang Xizhi's calligraphy has a high artistic charm for thousands of years.His calligraphy art of holding bones and tendons,connecting blood and spirit is the artistic expression of his elegant and elegant personality.The last section of this chapter analyzes Wang Xizhi's high rhyme personality and Wei Jin demeanor from three aspects of Wang Xizhi's character,reclusive life and elegant demeanor,so as to deepen the understanding of Wang Xizhi's spirit of advocating "Rhyme" in calligraphy.Thirdly,Wang Xizhi's emphasis on emotion and deep feeling in his calligraphy art is the product of the influence of the metaphysical thought of "sages have emotion and heartlessness".Wang Bi's idea of "saints have feelings" laid the cultural foundation for the rational existence of "feelings",and made the Wei and Jin Dynasties an era of attaching importance to feelings and deep feelings.With the development of metaphysics,"emotion" gradually became independent and reasonable,which made the personal feelings of the celebrities in Wei and Jin Dynasties expressed.The celebrities of the Wei and Jin Dynasties display their own personalities incisively and vividly through the art of calligraphy.As a representative calligrapher in the Wei and Jin Dynasties,Wang Xizhi's calligraphy art is more than passion.In preface to the Orchid Pavilion,he expressed his life experience around the issue of life and death,and expressed his sadness through Zhuang Lao's words.In addition,Wang Xizhi's letters also show his sad side.Wang Xizhi expressed his inner pain and sadness incisively and vividly through the words of "Sadness","pain","Sadness","Sadness",and "feeling choked on paper".It should be noted that Wang Xizhi's pathos is not decadent and negative,but optimistic and open-minded,in which there is a strong nostalgia and enthusiasm for life.In addition,Wang Xizhi's calligraphy thought was formed under the influence of metaphysics.From the perspective of metaphysics methodology,the fourth chapter discusses the influence of "the distinction between words and meanings" on Wang Xizhi's calligraphy art.The speculation on the relationship between "speech" and "meaning" develops in the process of free talk.The famous scholars in Wei and Jin Dynasties paid more attention to abstract principles than concrete things,and took "the distinction between words and meanings" as a new method to distinguish noumenon and signs,thus establishing a metaphysical system.Wang Bi takes "getting what he wants and forgetting what he says" as the first way to talk about metaphysics and distinguish between the essence and the end,so that he can understand Confucianism and Taoism and form the spirit of harmony.Under the influence of Confucianism and Taoism,Wang Xizhi's thought shows the characteristics of "both metaphysics and propriety".Moreover,Wang Xizhi,relying on the metaphysical thought of "image comes from meaning","meaning is exhausted by image" and "getting the meaning and forgetting the image",put forward the calligraphy thought of "meaning in front of the pen","satisfying the meaning" and "deepening the meaning of the book",which put the inner "meaning" of the creative subject in the first place,and made the calligraphy art realize the aesthetic transformation from "image" to "meaning",which has a far-reaching influence on later generations.Finally,the artistic features of Wang Xizhi's natural and harmonious calligraphy are the inevitable result of the influence of metaphysical view of nature.This paper holds that characters start from nature,calligraphy art should also adhere to nature,and the highest aesthetic realm should return to nature.The first section of the fifth chapter analyzes the influence of the metaphysical view of nature on Wang Xizhi's calligraphy art from three aspects: natural image,natural way and natural inaction.Wang Xizhi not only abstracted the aesthetic feeling of natural images as strokes in calligraphy,but also described the mysterious strokes and natural aesthetic feeling of calligraphy with natural images.In addition,Wang Xizhi believed that "the spirit of the book must reach Tao".Based on the understanding of "Tao",the calligrapher wants to achieve the creative mentality of natural inaction,so as to create excellent works of "the same as nature".The second section,from the perspective of metaphysical view of nature,deeply analyzes the artistic spirit of Wang Xizhi's calligraphy art,such as the beauty of "Neutralization",the simple posture and the dynamic "potential",in order to explore the metaphysical implication.