| 英文摘要 |
The scope of this study is based upon the calligraphic theory of Chang Huai-Chuan and aims to explore his aesthetic thinking regarding “nature,” analyzing its various meanings, levels, and contexts. In Chang’s view, “nature” carries three separate meanings, namely: “the objective world”, “every creature exists on its own”, and “non-artifical spiritual world”. In his calligraphy theory, Chang defined and categorized his discussions on “nature” based upon three interconnected layers: “The art of calligraphy derives from nature.”, “The art of calligraphy draws its analogy from nature.”, and “Calligraphy artists achieve their mastery by comprehending the natural world around them.” These three modes of presenting nature come to articulate three separate meanings of “nature”. Furthermore, Chang’s discourse on “nature” can be summarized by two separate linguistic scenarios: “objective essence of calligraphy” and “subjective creativity by calligraphy artists,” while the three-layer discussions on nature remains the core with which those linguistic scenarios revolve. After discussing the general structure of Chang’s aesthetic system, the article further explores Chang’s understanding of “nature” by tracking three more critical concepts within his thought: “ease and nature” “changes and nature” “spirits and nature,” with the latter synthesizing and extending the former two concepts. The concepts discussed in this article include the dialect between “natural and artificials,” the notion of “nature” in itself included within the concept of “the airs of the spirt and the energies of the body,” and the three artistic goals of “spirit,” “charm” and “ability,” as well as the notion of esteemed nature they embody. |
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