Changes In The Aesthetic Thoughts Of The Calligraphy Of The Pre-Qin,Qin And Han

Calligraphy aesthetics is a jewel in the crown of Chinese classical aesthetics.The aestheticization of Calligraphy deeply influences the process of localization of Chinese classical aesthetics.However,the current research on the history of calligraphy aesthetics is still fixed in the self-consciousness of calligraphy theory after Wei and Jin Dynasties,and it is far behind the history of calligraphy for more than a thousand years,and is seriously different from historical facts,which is not without regret for the construction of Chinese classical aesthetic history.Based on the studies of the history of Chinese aesthetics and the history of calligraphy aesthetics,this article which established on the excavation and collation of relevant literature documents collected and studied the history of the pre-Qin,Qin and Han calligraphy aesthetics and outlined the process of emergence,germination and transmutation of calligraphy aesthetics,which has made up for the insufficiency of academic research to a certain extent.This article begins with the early understanding of the concept of "calligraphy" and explains the source classification of related historical materials.The article believes that the calligraphy transformation in this period has gone through two stages: one is the process from philosophical to aesthetic;the other is the process from aesthetics to art.The concept of philosophical generation of calligraphy in the pre-Qin,Qin and Han periods had a fundamental influence on the theory of posterity calligraphy.The “Faire of the Raies” before the occurrence of the word has already explained the form and function of the later calligraphy art;The philosophical generation of the word is based on the “image” and then derives the “method” and “take the potential” of the concept of word generation,which can also be a posteriori calligraphy “access method” philosophy.In the transition from "mystery" to "classicization" of words,cursive script realized a transition from "standard beauty" to "free beauty" with the deconstruction of the norm of daily cursive writing,and then “take the potential” replaced the “acquiring images”.Art has achieved a good situation and the "four sages"-Zhong Yao,Zhang Zhi,Wang Xizhi and Wang Xianzhi have become outstanding representatives.After Tang Dynasty,the metaphysical philosophical concept of calligraphy has completely fallen into the concept of metaphysical art techniques.The aesthetic conceptof Confucian philosophy has been continuously strengthened and systematized.At times,it is seldom seen.For example,“Morality is more important than skills”,and the “his writing is just like himself” and other propositions influenced so far.In short,exploring the evolution of the aesthetic concepts of calligraphy in the pre-Qin,Qin,and Han dynasties can not only clarify how calligraphy moves from practical norms to artistic freedom,but also clarify the intrinsic factors of free development of calligraphy to art,and then help to extend the history of calligraphy aesthetics and enrich the calligraphy aesthetics form.Of course,due to the mixed historical materials in this period and the unification of ancient books,the author are currently researching and handing down ancient books and not paying enough attention to the unearthed literature.Although the tutors have studied and spoken a lot,the research on this subject is only marginal.In view of this,I hope further studies can continue in-depth research along this clue.