Pros and Cons and Reflections on the Construction of Contemporary Calligraphy Aesthetics from the Perspective of Ancient Scholars

As the main representatives of calligraphy aesthetic activities, ancient Chinese intellectuals used Chinese characters as the medium to promote the continuous development of this unique oriental aesthetic characteristic of calligraphy. Ancient intellectuals understood the dialectical thinking of philosophy in the Qin Dynasty, and the literary and artistic thoughts in many famous works and the literary theories of the past dynasties even indirectly or directly shaped their aesthetic concepts of calligraphy. The philosophical concepts and philosophical categories in ancient Chinese classics have played a leading role in the construction of contemporary Chinese calligraphy aesthetics. It can be said that the aesthetics of ancient intellectuals is the original category of all art, and current calligraphy scholars should fully absorb and learn from it. Therefore, the construction of the discipline system of Chinese calligraphy aesthetics is particularly important for learning from ancient calligraphy aesthetics. The current aesthetics of calligraphy is different from the powerful scientific cognition system in the West. There are still many problems in the construction of aesthetics of Chinese calligraphy. The accurate construction of aesthetics of calligraphy requires not only a clear understanding, but also a deep understanding of ancient Chinese knowledge systems and literati traditions. Developed under the aesthetic consideration of calligraphy, and based on the integrated humanistic knowledge system, this is the only way to truly establish the current calligraphy aesthetics construction towards discipline and theory. In recent years, Chinese calligraphy scholars tend to interpret Chinese calligraphy art within the framework of Western culture, and are relatively lacking in understanding the depth of aesthetic concepts and artistic conception of Qin Dynasty philosophy, lacking in depth and breadth. This paper focuses on the construction of the discipline of Chinese calligraphy aesthetics, and analyzes the “gain and loss” of the academic tendency of Chinese calligraphy aesthetics, which is of great significance. 中国古代士人作为书法审美活动的主体，他们以汉字为媒介，推动着这一独具东方美学特色的书法艺术不断向前发展。古代士人深谙先秦哲学的辩证思维，诸思想名著中的文艺思想和历代文论更是间接或直接的塑造了他们的书法审美观念。中国古代先秦典籍中的哲学观念和哲学范畴更是对当下中国书法美学的建构起到了高屋建瓴的思想引领，可以说先秦士人审美观是一切艺术的元范畴，当下的书法学者应当充分的吸收、借鉴。因此，中国书法美学的学科体系建构对于借鉴古代士人传统下的书法审美观尤为重要。当下书法美学不同于西方强大的科学认知体系，中国书法美学建构仍存在着诸多问题，对当下书法美学的准确建构不仅要有清醒的认知，而且必须在深入了解中国古代知识系统和士人传统的审美观照下开展，并以浑融一体的人文知识系统为主，这才是真正确立当下书法美学建构走向学理化的必经之路。近年来，中国的书法学者倾向于以西方学问的框架诠释中国书法艺术，对于领悟先秦哲学的审美观念深度和意境内涵相对匮乏，缺少深度和广度。本文围绕中国书法美学学科的建设问题，充分分析了中国书法美学学术性倾向的“得失”，具有重要意义。