The Connotation And Aesthetic Form Of The Theory Of "principle" And "method" Of Chinese Calligraph

"Reasoning" and "Rule" are two important philosophical categories used to summarize the laws of the universe.They not only exist in the world of nature but also permeate in various fields of human society,including the art of calligraphy,with a distinctive aesthetic meaning.The purpose of this article is to describe the internal ideological connections between "Reasoning" and "Rule" and their aesthetic expressions in calligraphy.Although these connections and expressions are indirect and complex,there are traces to track them."Reasoning" and "Rule" are two important fields in the aesthetic study of Chinese calligraphy.Although contemporary scholars occasionally touch upon them and have made theoretical contributions,there is a lack of systematic investigation and research that integrates the two.On the other hand,research in the contemporary calligraphy field often focuses on historical evidence,treating calligraphy aesthetics as either vague area or intimidating field.Based on upon two reasons,this article establishes its argument from the perspectives of "Reasoning" and "Rule" in calligraphy,aiming to explore the connotation of the "Reasoning-Rule theory" in Chinese calligraphy and study the corresponding aesthetic forms of calligraphy in different historical periods.The research value and practical significance of this article are mainly as follows:1.By sorting out the pre-Qin documents of various philosophers,this article traces the original meanings of "Reasoning" and "Rule" and the process of expanding their connotations.This is a prerequisite for the research conducted in this article.2.By analyzing the aesthetic expressions of "Reasoning" in calligraphy theory and the aesthetic regulations and manifestations of "Rule" in calligraphy,this article not only extracts numerous ancient statements discussing "Reasoning",but also associates the abstract concept of "Rule" with specific brushwork,structure,composition,and ink techniques.These specific "Rule" elements constitute the essence of calligraphic "Rule".3.The article explores the relationship between calligraphic "Reasoning" and "Rule," highlighting both their similarities and differences.By clarifying this dialectical relationship,the article contributes to a better understanding of their interconnections.4.By conducting case studies of ancient calligraphers,this article explores the aesthetic manifestations of "Reasoning" and "Rule" in the history of calligraphy,as well as the aesthetic transcendence of "beyond Rule" in calligraphy.The case studies of calligraphers focus on the diverse aesthetic forms presented under the backdrop of calligraphic "Reasoning" and "Rule".5.In recent years,there has been ongoing debate in the calligraphy community regarding the understanding of "ugly calligraphy".We cannot measure all works based on a specific "Rule",nor can we take classical and beautiful great pieces as the "standard" for calligraphy.Calligraphy styles are diverse,showcasing aesthetic types such as uniqueness,antiquity,simplicity,and plainness.While these works may not fully adhere to the "Rule" of the Wang family style or Tang style,they are supported by the underlying "Reasoning" in calligraphy and have their own basis in "Rule".Similar issues still exist in the current calligraphy field.If we comprehend the aesthetic regulations of calligraphic "Reasoning" and "Rule" and understand the similarities and differences between them,many disputes will become self-evident.This is also the practical significance of the research conducted in this article.