China's calligraphy is deeply influenced by China's philosophy. "China's philosophy is centered on Tao and based on Qi, while China's art pursues the realm of the combination of reality and reality and vivid charm."
Marxist philosophy holds that the subject is consciousness, the object is matter, matter determines consciousness, and consciousness reacts on matter; So the object determines the cognition of the subject, and the subject also reflects the state of the object. Furthermore, the subject produces initiative and the object produces passivity; Therefore, initiative acts on passivity and is also subject to passivity.
(1) Subjective characteristics of calligraphy aesthetics First of all, calligraphy aesthetics is a subjective dynamic behavior, which is influenced and restricted by subjective aesthetic ability. The subjects of calligraphy appreciation have different occupations, ages, genders, growth experiences, knowledge structure and economic conditions. These social factors constitute their unique aesthetic ability and values, and play a leading role in the aesthetic process. Secondly, calligraphy aesthetics is a complex psychological activity process, which is influenced and restricted by subjective emotions. "Worried people are worried when they see it, and happy people are happy when they see it." Different moods will bring different emotional experiences, which will lead to different or even diametrically opposite aesthetic conclusions. It can be seen that the subjective characteristics of calligraphy aesthetics are not only manifested in the differences of subjective aesthetic ability in the same timeline, but also in the differences of subjective mood in different timelines. As Wang Guowei said, "I see things, everything is my color", and the state of aesthetic subject directly affects the perception of aesthetic object. In short, the subjectivity of calligraphy aesthetics can be understood as "humanized beauty". This is not an idealistic concept, but an recognition and emphasis on the subjective characteristics of calligraphy aesthetics. (2) The objective characteristics of calligraphy aesthetics First of all, calligraphy aesthetics is a symbolic way to understand social culture. Judging from the historical role of calligraphy, calligraphy is a product of socialization and a cultural symbol left by people who created society in the process of labor. When social culture is impetuous, people's aesthetic tendency tends to be impetuous; When social culture is important, people's aesthetic tendency tends to be elegant. Judging from the history of calligraphy development, Da Zhuan, Xiao Zhuan, Li Shu, regular script, cursive script and running script have their own advantages, and each era also has its own aesthetic orientation, and the understanding of calligraphy norms and styles is also very different-Jin people like rhyme, Tang people like law, Song people like meaning, and it is still fashionable in Ming and Qing dynasties. It can be seen that calligraphy will be branded with social culture under certain background. Secondly, calligraphy aesthetics is a symbolic way, which sees through the professional quality of the creators. The professionalism of calligraphy creators is not only reflected in writing skills, but also in personality cultivation. As the saying goes, "words are like people" and "books are paintings of the heart", the personal theoretical knowledge, cultural accomplishment, personality temperament and spiritual thoughts of calligraphy creators can be displayed through calligraphy works.
(3) Relationship between Subjectivity and Objectivity The relationship between objectivity and subjectivity is manifested in three forms: mutual attraction, mutual exclusion and mutual shaping. On the one hand, objectively speaking, influenced by social and cultural environment and self-cultivation factors, calligraphers will form a creative style that releases their distinctive personality. The more distinctive and exclusive this style is, the stronger it will be. On the other hand, subjectively, influenced by personal aesthetic ability and mood factors, calligraphy appreciators will also construct an aesthetic that conforms to personal temperament. Similarly, the more distinctive and exclusive this aesthetic is, the stronger it will be. Therefore, when the creative style and aesthetics are highly compatible, they will attract each other; On the contrary, they are mutually exclusive. In fact, calligraphy aesthetics is not a simple binary opposition process of "attraction" or "repulsion", but more a process of mutual shaping. "Yang alone is not born, Yin alone is not successful". It is in the interactive process that the creative style of the subject and the aesthetic view of the object stimulate aesthetic thinking and produce aesthetic interest.