| Summary: | 博士 === 淡江大學 === 中國文學系博士班 === 98 === Image Theories of Chinese Calligraphy represents the starting point of calligraphy theory, evolving from the Han–Wei dynasties through to Two–Jin dynasties. By capturing their experiences of nature in calligraphy, practitioners discovered they might express a more profound sense of universal meaning. This dissertation explores that period, and the way in which nature inspired calligraphers to write and develop calligraphy as an art.
This dissertation is presented in five chapters:
The first is the introduction. The second to fourth chapters are the main body of the dissertation.
The second chapter, “the emergence of Image Theories of Chinese Calligraphy”, we discuss the sources of the theory. This chapter contains three parts:
1) to distinguish the rules of Image Theories of Chinese Calligraphy from the rules for construction of pictograms as used in the Chinese language; 2) the emergence of a distinctly individualistic school of thought among scholars of the Han–Wei dynasties, and the mutual influences which began to occur between the fields of calligraphy and other arts; 3) to present an original theory, namely, that Image Theories of Chinese Calligraphy is based on “YI4”（易） thinking as it existed at the end of the Han–Wei and Two–Jin dynasties and that its development was influenced by it during that period.
The third chapter, “the theoretical analysis of Image Theories of Chinese Calligraphy” is a review of the literature, with a focus on the evolution and development of Image Theories of Chinese Calligraphy.
The fourth chapter “the aesthetic ideology of Image Theories of Chinese Calligraphy”, we explore the construction of Image Theories of Chinese Calligraphy as it relates to the concurrent emergence of Wei–Jin dynasties metaphysical philosophy; from this basis, we may develop. The Metaphysics of Calligraphic Arts from within the broader context of calligraphy Image Theories of Chinese Calligraphy. We also analyze the central thinking of aesthetic thought in Image Theories of Chinese Calligraphy , which is: 1) “YI4”（意） – attainment of aesthetic perfection; 2) “HE2”（和） – aesthetic awareness; 3) “SHI4”（勢） – artistic skill.
The fifth chapter is the conclusion, namely, that Image Theories of Chinese Calligraphy establishes the status of Cursive script within Confucian thought. Through the philosophy of “YI4”（易） calligraphy becomes an art through which the artist experiences “DAO4”（道）. During the Wei–Jin dynasties, the study of Wei–Jin Metaphysical philosophy was seeking the truth of existence; against this backdrop, those calligraphers who drew their inspiration from nature were deeply influenced by the discussion of Wei–Jin Metaphysics. Calligraphy thus becomes a way to experience “DAO4”（道）.
During the Wei–Jin dynasties, by incorporating the tenets of “YAN2 YI4 ZHI1 BIAN4”（「言意之辨」）, Image Theories of Chinese Calligraphy became the route to artistic and symbolic expression of the full depth and dimension of the world. “The Metaphysics of Calligraphic Arts” flows from these precepts, and presents the calligrapher with a new consciousness of his craft as art.
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