Lu Zuhe's treatise "Philosophy of Calligraphy" was recently published by the China Federation of Literary and Art Circles Publishing House. The book includes eight chapters of "Introduction", with a total of more than 300,000 words, and the research mainly covers "calligraphy and objective existence, calligraphy subject and calligraphy ontology, calligraphy subject and social aesthetic psychology, calligraphy art and great art, calligraphy art subject spirit and personality, beauty and ugliness of calligraphy art, Confucianism, Buddhism and calligraphy". The Philosophy of Calligraphy is a part of the philosophy of art that studies the nature of calligraphy and the laws of its emergence and development.
In the book, the author Lu Zuhe applied philosophy to the exploration and development of calligraphy art, found the correct understanding of calligraphy and innovative calligraphy of the way of thinking, thinking and practice, and initially formed the basic framework of the philosophical calligraphy theory system. From a philosophical dialectical point of view, this paper explores and studies the essence of calligraphy art, the trajectory and basic laws of its emergence and development, so as to correct the idealistic and mechanical materialist creative outlook that has always plagued the calligraphy world.
In particular, when the ugly calligraphy "Jianghu calligraphy" is flooding and causing controversy in the calligraphy world, "Philosophy of Calligraphy" dialectically expounds the theoretical problem of the beauty and ugliness of calligraphy. Starting from this issue, the correct concept of calligraphy aesthetics was established. The element of artistic beauty "ugly" needs to be reflected in a certain environment, and this environment is: either art is concrete, or art has a plot, etc., through the comparison of "beauty" and "ugliness", the element of beauty "ugly" can effectively bring out the beauty. Whether calligraphy, which has no plot and only abstract symbols, can be used as "ugly" remains to be explored. Whether calligraphy can be used as an inferior work without any technical skills to act as the element of beauty "ugly", the author has a negative attitude.
Towards the end of the book, the author, Lu Zuhe, suffered from macular degeneration in his right eye, which caused a lot of inconvenience to the finishing work of his treatise. "A little depressed! But when you think about it, there are gains and losses in everything. Fortunately, compared to 'gain' and 'loss', the content and meaning of 'gain' is more important than 'loss'. It not only made me a big step forward in the combination of calligraphy and theory, but also fulfilled my responsibilities and obligations as a descendant of Chinese to promote Chinese culture. Lu Zuhe said.
In the afterword, she expressed this feeling: "On the one hand, any research and innovation comes from the accumulation and application of knowledge theory by the subject, and on the other hand, any accumulation is mostly based on the achievements of predecessors, and both are indispensable. Therefore, if the publication of "Philosophy of Calligraphy" can play a theoretical guiding role in the development and innovation of calligraphy art, then it can be said with certainty that its success is stepping on the shoulders of countless predecessors, without the achievements of predecessors as a foundation, without the detours taken by predecessors for reference, without the art of calligraphy and its history as evidence, even if I have a body of "three heads and six arms", an extraordinary brain, and a diligence and hard work that is different from ordinary people, it is impossible to easily conquer "Philosophy of Calligraphy" fabulously The puzzle! (Xinmin Evening News reporter Xu Yisheng).