To sum up, the basic purpose of calligraphy formal language is either to show the connotation in the process of time or to create artistic conception in space. Therefore, temporality and spatiality run through the whole calligraphy creation.
When we open Huai Su's Autobiography Post, facing the length of nearly eight meters, and then follow Huai Su's brush strokes, the first thing we can feel is the time attribute. However, when you stand under the cliff stone carving of Mount Tai's Diamond Sutra and look up at the sky of tens of meters, the first thing you feel is its spatial attribute. In fact, the temporality and spatiality of calligraphy language exist at the same time, but because of the different forms of calligraphy, their spatio-temporal activities are different. Either time gives priority to promoting space development, or space gives priority to promoting time development.
Generally speaking, horizontal calligraphy, which uses a large number of words and lines and takes horizontal development as the main clue, maintains the overall organizational relationship, emphasizes the rhythm change, and integrates the relationship between reality and space. Vertical calligraphy, with fewer words and lines, develops vertically, mainly taking space as the main clue, maintaining the overall relationship, strengthening the sense of space through the contrast between reality and reality, and integrating the rhythm and the relationship between collection and release.
In a work, temporality and spatiality coexist everywhere. They are mutual, follow each other, only focus in the swing, and finally appear properly and perfectly through integration.