The cultural ecological form of calligraphy art consists of the following levels: (1) the semantic layer of characters; (2) Pen and ink appearance layer (stippling posture, structural style); (3) Ink like layer (muscles, bones, flesh, blood, spiritual temperament); (4) Historical and cultural level (temperament, morality, and ethics).
Semantic level of writing: Strictly speaking, this level is non calligraphic, supported by the "primitive language function" of writing - conveying ideas and expressing will. However, in the process of literatiization of calligraphy, the content of characters has become an inseparable part of the "literati calligraphy" that represents the main body of calligraphy art; From a creative perspective, the calligraphers' "sticking to the Hu bed with exposed roofs" (Li Qi's poem to Zhang Xu) and "sweeping thousands of pieces in an instant" (Li Bai's poem to Huai Su) are inspired by their emotions; From the perspective of the admirer, there is a difference in the intensity of aesthetic impact and depth of perception between calligraphy appreciation with "reading pleasure" and calligraphy appreciation without reading pleasure (as Zhang Huaiguan said, "only observing one's appearance"). According to the overall positioning of traditional Chinese culture for calligraphy art - lyricism, expressiveness, self-cultivation, and education, the semantic layer should be an organic component of calligraphy art; Without it, the integrity of calligraphy art will be compromised. Therefore, we regard the "semantic layer" as the fundamental layer of the ecological form of calligraphy art.
The "brush and ink appearance layer" is the beginning of "material" calligraphy. The image of any calligraphy needs to be constructed with dotted lines. Different forms of stippling have different shapes (outer contours), textures (brushwork and ink rhyme), and each stippling has its own fixed form; The overall sense of Chinese characters themselves, the "gestalt consciousness" in visual psychological reactions, and the "discriminative reading attraction" in the semantic layer all endow calligraphy Chinese characters with a complete and unified "form sense". This is a black "calligraphy shell" that carries strength, temperament, nature, and ethics. The "body" of calligraphy - font and calligraphy style - delimits boundaries at this level.
The "Ink Image Layer" is a transitional zone in calligraphy from "material" to "culture", from "technique" to "Dao", and from the "pure objective" realm without self to the "fusion of things and me" realm with self; It is a comprehensive image formed by the outer layer of pen and ink in the viewer's mind. The "image" is the manifestation of the "form", which is a long-distance, large space, blurring, and comprehensive grasp of the entire spirit of the observer towards the objective object.
At this level, due to the subjective factors of the appreciative subject, each "small cell" gains the meaning of "living form" in the world of thinking. The strokes and lines of calligraphy gain a sense of strength - strength, solemnity, beauty, antiquity, and so on; The shape of calligraphy, whether dignified, elegant, peculiar, or unrestrained, has also gained some kind of illusory 'life'.
Calligraphy and Chinese characters, in this world, seem to each have an independent and complete life. The strokes and strokes are like the hands and feet of a person, with every move and gesture, looking forward to love. This is a material framework that requires the subject to be appreciated to implement "re creation". In the terminology of the Western modern aesthetic "reception aesthetics" school, it is a "summoning structure" that requires readers to immerse themselves in.