There is no distinction between beauty and ugliness in calligraphy art, but the appreciators have different appreciation levels and different views on art. Different people may draw different conclusions about the same work.
There are indeed differences in the level of public appreciation, but this does not mean that calligraphy has no distinction between beauty and ugliness. The beauty and ugliness of calligraphy exist objectively, and judging calligraphy by beauty and ugliness will also exist. Some people think the same calligraphy works are ugly, while others think it is beautiful.
There is also a view that beauty and ugliness are not the criteria for judging the value of calligraphy, so beauty and ugliness cannot be used to comment on calligraphy. This view is biased, and there can never be only one standard to judge the value of calligraphy. To measure and comment on calligraphy from different angles and methods will also have different value standards.
This involves a series of issues such as aesthetics and values. Beauty and ugliness are undoubtedly a criterion for judging the value of calligraphy. All elements of calligraphy can be commented by beauty and ugliness. The lines and strokes are graceful, vigorous, symmetrical and varied. Ugly, weak and soft, full of pen diseases such as cow's head, bee's waist and mouse's tail
The beauty of font structure conforms to the font method, which is flexible and harmonious, while the ugliness destroys the standardization and rigor of Chinese characters, making them fragmented, ferocious and horrible, and the cultural significance of Chinese characters disappears; Composition, layout, ink color and so on can all be commented by beauty and ugliness.