Li Huizhao/Text
Abstract: Contemporary Chinese writers choose calligraphy as an artistic life outside of literary creation, which shows that calligraphy has a collective unconsciousness for Chinese literati. The calligraphy activities of contemporary writers have realized the cultural expression function of calligraphy, and the words they discuss calligraphy present a strong in-depth expression of culture and spirituality, which has made up for the lack of culture of professional calligraphers. Through the expression of calligraphy art, the cultural accomplishment of contemporary writers and the transmission of the cultural identity of calligraphy by literary spirit construct the cultural subjectivity of Chinese calligraphy. The concept of calligraphy of contemporary writers provides professional calligraphers with a new perspective of theory and practice, provides ideological resources for the development of Chinese aesthetics, and endows the cultural subjectivity of Chinese calligraphy art, which will actively promote the development of Chinese culture in the 21st century.
Keywords: artistic expression; professional calligraphy; Writer's calligraphy
In addition to their literary life, contemporary Chinese writers choose calligraphy as an artistic life in addition to literary creation, showing that calligraphy has a collective unconsciousness for Chinese literati. Calligraphy culture is one of the most symbolic artistic activities of Chinese culture, and its artistic concepts such as "Tao", "Counting white as black", "Harmony between heaven and man" and "Harmony between moderation" have given writers the space for imagination and effectively promoted the cognition and construction of writers' cultural subjectivity. A large number of well-known contemporary writers such as Jia Pingwo, Xiong Zhaozheng, Feng Jicai, Chen Zhongzhong, Yu Qiuyu, Gao Jianqun, Zhang Xianliang, Wang Xiangfu, Lei Pingyang and so on are enthusiastic about calligraphy art creation, have some understanding of calligraphy culture, and have formed a unique artistic style, which also makes their literary creation contain potential Chinese calligraphy ideas and cultural resources. For example, many of Jia Pingwo's short essays, and even some of his long and large compositions, have a certain simple beauty and Taoist meaning, which is very similar to his concept of calligraphy.
In contrast to writers' calligraphy, there is a serious cultural deficit in the professional calligraphy industry, calligraphy consumerism has led to the loss of the calligraphy itself, and the innovation of calligraphy has also lost its clear direction. [1] Looking at the contemporary Chinese art world, some serious cultural deficiencies can also be seen. The main cultural identity of artistic creation lacks and blindly follows Western isms; Under the guidance of business ethics, he is keen to follow various art markets at home and abroad; The professional atmosphere of art dissolves the atmosphere of spiritual interest and ideological cultivation, making the artist reduced to a profession, circling in various forms of games. The starting point of contemporary writers' calligraphy activities is literature, and the literary sensitivity of writers and their cultural awareness effectively make up for the lack of cultural expression in calligraphy. It can be said that the sense of cultural mission and value identity of contemporary writers is much higher than that of professional and market-oriented contemporary calligraphers. The calligraphy activities of contemporary writers have realized the cultural expression function of calligraphy, and their words on calligraphy present a strong in-depth expression with culture and spirit as the core. Cultural subjectivity is the path and purpose to realize the expression function of calligraphy, and through the expression of calligraphy art, the cultural accomplishment of contemporary writers and the transmission of calligraphy cultural identity by literary spirit constructs the cultural subjectivity of Chinese calligraphy. Therefore, at the level of the expression of calligraphy by contemporary writers, their words on calligraphy provide professional calligraphers with a new perspective of theory and practice, and provide ideological resources for the development of Chinese aesthetics. From the perspective of aesthetic daily life and aesthetic globalization, the effective expression of writers' calligraphy has formed a unique and valuable view of calligraphy of contemporary writers, endowed Chinese art with cultural subjectivity significance, and will actively promote the development of Chinese culture in the 21st century.
1. Artistic expression and calligraphy expression function
In the history of literary aesthetics, art focusing on reflecting the objective world is often referred to as reproducible art, and its aesthetic reflection method and function are also called artistic reproducibility; Art that focuses on expressing subjective emotions is often referred to as expressive art, and its aesthetic expression and function are also called expressiveness of art. [2] Calligraphy is clearly an expressive art form, and since the formation of the art of calligraphy, the expressive function of calligraphy and the expressive consciousness of calligraphers have continuously appeared in many book theories. This kind of expressiveness is very different from Western expressionism on a philosophical basis, and its expressive starting point can be regarded as the "zhi" of the poetic zhi mentioned in the Shangshu Yaodian, which is the inner mood and thoughts and feelings of the Chinese literati. In terms of specific expression, Chinese calligraphy has the same identity as traditional Chinese poetry and landscape painting, and the common ideographic characteristics of the three make "poetry and painting" homologous, and also make Chinese calligraphy have a tradition that continues to this day, which is an important reason why calligraphy has been passed down to this day. But this tradition of expression was gradually cut off in the early 20th century with the "Fine Arts Revolution". In the 80s of the 20th century, when the Chinese calligraphy boom first appeared, the expressive function of calligraphy was still not recognized. Especially then Western modern art and avant-garde art gradually intervened in China, bringing Chinese calligraphy into many so-called avant-garde tracks such as "calligraphy", the calligrapher's personal consciousness and subjective emotions that need to be expressed and should be expressed behind calligraphy gradually disappeared, calligraphy was even completely reduced to a professional artistic game, and the literati cultivation, literary emotions, cultural tastes, etc. that should be included in the calligrapher's sentiments were gradually obscured by many nihilistic forms, and the original function of calligraphy expression was gradually lost. Even makes Chinese calligraphy almost impossible to be calligraphy.
The significance of contemporary Chinese writers' calligraphy creation activities and calligraphy ideas is precisely this, they re-give calligraphy the expressive function, attach importance to the personal emotional investment due to calligraphy, enjoy the joy of manual operation that calligraphy should have, and present the release and freedom that calligraphy brings to Chinese in the modernity. Jia Pingwo, known as "Northern Jia Nanxiong" in writer's calligraphy, redefined calligraphy with his own consciousness. He believes that "calligraphy is calligraphy to express the experience of all natural things with the change of lines on the basis of flatness, and the experience is accurate and unique"[3]. "Expressing the experience of all natural things", this definition of calligraphy in the writer's vision highlights the expressive function of calligraphy, highlighting the writer's deep concern for the soul and spirit of the "person" behind the expression extended from literary consciousness. As a result, he criticized the calligraphy of some professional calligraphers who are good at playing with form, "calligraphers are called calligraphers just because they can write with a brush, and they write in addition to writing, turning a profound art into juggling." [4] "Nanxiong" Xiong Zhaozheng also believes that calligraphy is the highest realm of calligraphy and literature by creating the form to understand the meaning, from the surface to the inside, and from the form to the spirit. [5]
Books as people and characters as people are the best summary of the expressiveness of calligraphy in Chinese culture, but in recent years, this almost conventional sense of calligraphy has been difficult to hear in professional calligraphy circles. Contemporary writers have made an ardent call for this. The traditional education he received during the Republic of China period made him have a deeper understanding of Chinese calligraphy, and he has more experience in the expressiveness of calligraphy. [6] Tie Ning, a female writer and president of the China Writers Association, recognized the "book as a person" in calligraphy. She believes that cursive writing has always been the most independent and unrestrained style of writing, which frees itself to the greatest extent from the constraints of "characters" on people, so that individuality and talents can be fully developed and displayed. The pen walking dragon snake is actually a calligrapher showing people his agitated and frank feelings, and making sincere and fiery hearts. [7] Jia Pingyu also believes that "'reading ten thousand volumes, writing like a god', seems to be writing the personal experience of the writer, the smooth lines, vivid charm, and informal brushstrokes, vividly showing the individual artistic style of the calligrapher and painter." [8] "The quality of art depends entirely on the cultivation of the author. Humanity and art are often unified, subtle and profound",[9] which has a common orientation with the concept of calligraphy art. That is, the calligrapher's personality, personality, talent, feelings, and cultivation are all contained in calligraphy, and the calligrapher's knowledge will eventually be presented in the lines and chapters.
Some avant-garde art and even postmodern performance art in contemporary China are derived from the controversial Western "modernity" discourse, and are the result of the "theoretical travel" of Western theories around the world and in China. [10] The concepts brought by Western theories took root in China, affecting the cultural orientation of Chinese calligraphy, making Chinese calligraphy pay too much attention to form, operating calligraphy according to Western pure abstraction and modern artistic methods, and the culture, spirit, cultivation, etc. that should be expressed behind calligraphy are almost completely lost, which cannot but be said to be a wrong path of Chinese calligraphy. Calligraphy exists in the contemporary cultural and artistic environment, and the common problems of Chinese calligraphy are also more common in other art categories such as painting and music. Contemporary China has mostly become a new experimental ground for Western art, and Chinese art and culture are only symbols, putting a layer of labels on these so-called Western modern art. This cannot but put Chinese art in jeopardy. From this point of view, the calligraphy view of contemporary Chinese writers provides a new perspective for the thinking and development of Chinese art. Some of the ideas advocated in their view of calligraphy may have some kind of compatibility with traditional culture, and are reprints of some traditional views of art. However, these formulations are the result of the practice of calligraphy by contemporary writers, and are an effective perspective on Chinese calligraphy and even Chinese art. In fact, it once again gives the expressive functionalization of art such as calligraphy and painting. Functionalization is a neutral word, and function does not equal functionalism, but only to give art some new value starting from the individual. As abstract art, the function in the market is very different from the function for the artist. From the artist's personal point of view, rethinking the expressive function of art is also expected to promote the internal development and evolution of traditional Chinese art with the spirit of subjectivity, and it is also conducive to Chinese art not losing its Chinese cultural identity on the road to modernization.
2. What to show and how to behave
How art should express emotions is also an important issue in understanding artistic expression. Artistic expressionism often excessively elevates the status of emotions in artistic creation, and regards the expression and catharsis of self-emotions as the whole purpose of art. [2] There are different levels of emotion, and the emotions in artistic expression are supported by the artist's cultural accomplishment and spiritual connotation, and the artist's different cultural accomplishment and spiritual pursuit will inevitably lead to different emotional levels given to the expression, which will correspondingly affect the artist's artistic expression and determine what the artist wants to show and in what way to express it. The reason why Chinese calligraphy has become an art is not only because calligraphy itself has the function and characteristics of art, but also because Chinese culture has endowed calligraphy with artistic functions and characteristics. [11] From this point of view, the basic starting point and destination of calligraphy art expression can be regarded as Chinese culture, but the main body of Chinese culture should be calligraphers. Contemporary writers have made many pertinent statements about this. They have a detailed elaboration of how art is expressed and what form the content of art should take, which belongs to the sensitive perspective of writers' literature. Chen Zhongzhong believes that writers writing with brushes is a kind of inheritance of traditional culture. Holding a computer in his left hand and a brush in his right hand to inherit Chinese culture is the most direct combination of modernity and tradition. [12] In Chen Zhongzhong's vision, brushes have been roughly equated with Chinese culture, which shows that the cultural spirit in calligraphy should and must be Chinese culture. Wang Meng believes that Chinese characters themselves are a very beautiful and artistic text, and handwriting contains a humanistic atmosphere. [13] Moreover, calligraphy is pure and is rarely considered heretical and rarely considered particularly dangerous. [14] This is one of the reasons why Chinese calligraphy is most effective for individual calligraphers. In Jia Pingyu's view, "if the name is the chanting of mantras and writing is a drawing symbol, this metaphysical symbol written by a certain person is a unique sign that can reveal the universe of heaven and earth." [15] The unique signs of the universe of heaven and earth, such an expression is relatively grand, perhaps because the writer shows a cultural mind with a unique image belonging to literature, which fully expands the content that calligraphy needs to express. To truly implement the artistic expression content of specific individuals, there are specific and subtle spiritual and cultural requirements belonging to writers. For example, Jia Pingwo believes that "what spirit and posture an artist should enter into life and create is already a very important issue",[16] so he emphasized the experience of calligraphers' artistic spiritual cultivation. He said, "To really learn Su Dongpo, it is not only Su Dongpo's versatility, but also a frank and expansive heart after versatility, so as to be a serious person, an interesting person, and a comfortable person." [17] "If you want to be everyone, you must be stale, and appear with sincerity, simplicity, grandeur and strength." [18] Xiong Zhaozheng pointed out that "a person's words can reflect a person's experience, education, survival, and mental state." In his novel Zhang Juzheng, Xiong Zhaozheng's evaluation of calligraphy "is mainly judged from the perspective of temperament, not focusing on strokes and genres, but commenting on calligraphy as a reflection of a person's quality and temperament." Temperament and law, qi is the realm, and law is learning." He criticized some calligraphers for their lack of academic support: they wrote very well, but their brushwork was too sweet and weak. At the same time, he also said that some words seem to have no way, but they seem to be very vibrant, and you can see the flow of qi and the survival state of the whole person. [5] Therefore, in the specific artistic expression of individuals, the "I" behind the art should be highlighted, and it should be "I am working for me", "I am creating the state of my heart, and expressing my intention through the situation". [19] Only by highlighting "I" as the creative subject can we truly express the "atmosphere" behind art, and only then can there be "a person's experience, learning, survival and mental state" behind calligraphy. Only by paying attention to improving the culture and spirit of calligraphers can we form an artistic individual that truly belongs to us, which is also what Chen Zhongzhong said, and cannot "just copy the brushwork skills of a certain person, but not everyone's thinking and spirit", otherwise "it is impossible to form an independent artistic personality of one's own family". [20]
Chinese calligraphy has its own unique artistic aesthetic coordinates, that is, to take human standards as aesthetic standards, personality standards as aesthetic value orientation, calligraphy aesthetic categories are only available in China, all kinds of adjectives are around personality, around the humanistic spirit, how many spirits people have, there are as many aesthetic "personalities". [21] From the handwriting of this painting, the beauty of all things, that is, the beauty of the human heart, flows out, and no one can not feel this beauty, and no one can draw or express this beauty. [22] 169 Expressing the artist's spiritual and cultural accomplishment requires the artist's own artistic language, and the artist's unique artistic skills, that is, the "law" that calligraphy should pay attention to. The law is to be used flexibly, from the law to the impossible, to show the artist's unique personality and style, is the real art. Art is created, not concocted. [22] 172 Contemporary writers also have their own deep reflections and expressions on this. Jia Pingyu believes that since modern people have "found it difficult to experience the nature of heaven and earth from calligraphy, and it is difficult to immerse themselves in cultivating their own skills", calligraphy should be "written in a way that is written in a calligraphy style". [3] He proposed that emphasis should be placed on concentrating on cultivation techniques in order to express the "Tao" of society and individuals. Different calligraphy artists have their own unique paths to specific expressive techniques. The senior writer Zhou Erfu was born in the Republican period, has a foundation in traditional calligraphy, and he has a unique experience of the technique of expression. He believes that the brushwork borrows dot painting to show, and dot painting borrows the knot to show. The dot drawing of the word is equivalent to the line of the painting. The lines should have different thicknesses, thicknesses, strengths, etc., and writing with a brush can express a variety of colors and harmonious and unified moods. - Write with the fearful and strange vividness of what the ancients said. [23] In terms of calligraphy and calligraphy, Wang Zengqi said: "The word 'encroachment' is the most refined, and no one seems to have thrown out calligraphy." This is the key to the body. There is invasion, there is concession, mutual position, mutual care, then the word is like flesh and blood, and the relationship between words and words comes out. The 'encroachment' saying can be used by all calligraphers. - If words are separated and guarded by each other, and do not interfere with each other, they become operators." [24] Xiong Zhaozheng believes that calligraphy "is both a way to nourish the mind and a way to nourish the body." Calligraphy is a physically and mentally engaged activity, an art, and it has a technical element at work in it." "Calligraphy cannot have the law of the book itself." [5] Wang Xiangfu believes that the "law" of calligraphy is the life and soul of calligraphy, and the face of calligraphy works can be different from handsome and ugly, but the law is the same. [25]
Although technique is extremely important for the expression of calligraphy, it is impossible to display it for the sake of skill, which inevitably loses the content body that the technique should express. Contemporary writers have a cautious and even somewhat contemptuous attitude towards this. For example, Jia Pingwo believes that due to the excessive emphasis on the art of calligraphy, to some extent, calligraphy is artistic, that is, more aesthetic, interesting and decorative art. This kind of beauty and fun affects the development of genius, so that it ends up in a small family. [18] Jia Pingyu said that the neglect of technique was logical and reasonable, so he said, "Calligraphy and painting have their basic techniques, and I don't know anything about them." [26] Jia Pingwo "Techniques, all in the form of spiritual formations, seem to be brilliant works." [8] In fact, Jia Pingyu still cannot forget the problem of the creation of the subjective spirit of the person in his performance. Only in this way can there be a real personal display in the context of contemporary art bound by modernity, the prominence and prominence of the writer's personal subjective status, and as Zhang Xianliang said, through the study of calligraphy, not only will not lose the ability to write Chinese characters by hand, but also better enjoy the fun of similar manual operations (just as many people do not want to use "point-and-shoot camera" photography). [27]
3. The history and aesthetics of performance
Expressiveness is the main characteristic of Chinese calligraphy and other arts, and the history of calligraphy has a unique historical background, such as one of the initiators of the Chinese Calligraphers Association, the senior contemporary writer Zhou Fu, who has unique insights into the expressiveness and influence of Chinese calligraphy art. He believes that Chinese calligraphy art "has a different artistic personality from ordinary art categories, and has become the soul of all kinds of plastic arts and expressive arts in China". It is precisely the definition of the nature of calligraphy expression, he believes, "Chinese calligraphy art also has a profound impact on some European and American countries, the traditional art of Western countries is basically based on simulation and reproduction of figurative art, only in modern times has abstract art appeared." Modern abstract painting, after being influenced by Chinese calligraphy art, has improved its artistic quality", which shows Zhou Fu's confidence in traditional Chinese calligraphy art and culture. [23]
Calligraphy is expressive, which can be clearly traced in history, and many calligraphers throughout the ages have revealed their psychological swimming trajectories through calligraphy. For example, Wang Xizhi's "Orchid Pavilion Preface" cannot but say that its handwriting jumps with the refreshing feeling of singing and singing between the Zhaoyang at the beginning of the twilight and the literati. Yan Zhenqing's "Manuscript of Sacrifice and Nephew" cannot but be said to integrate the sorrow and sigh of an elder and a loyal martyr into calligraphy. Therefore, the expressive exaltation of calligraphy should be found from the psychological depth of the nation. Some writers believe that when the brush of the traditional writing instrument Chinese first replaced by fountain pens and ballpoint pens, and then replaced by computers, faced with the danger of cutting off traditions and losing national essence, the psychology of the Chinese people produced a deep sense of fear, which is Chinese fear of losing tradition and then losing themselves. [28] Tradition becomes a hidden blood that nourishes the expression of calligraphy on the individual and national spirit, and even if it is innovative, it "cannot cut off history". To study and study the art of calligraphy, "we should be rooted in the outstanding achievements of previous generations of calligraphers, inherit the excellent traditions of our own era, and constantly strive to develop and innovate." [23]
As a cultural expression based on tradition, "poetry and painting" has a certain homology, which is due in ancient Chinese culture, but in the professional artistic atmosphere, "poetry and painting" almost loses the basis of homologous expression. Calligraphers do not understand literature, painters and writers write extremely ugly words, and the artistic separation between professionalism is obvious. In this regard, contemporary writers reiterated their own views, although this view is similar to traditional literary and art theory, but it is also a reaffirmation of the expressiveness of current Chinese literature and art, which is in sharp contrast to the weak cultural awareness of professional artists to express the subject. For example, Zhou Erfu believes that Chinese calligraphy and painting are of the same origin and work, and many famous artists have painted trees, bamboos, grapes and mountain stones from calligraphy. The structure layout of calligraphy and painting also has similarities, such as painting and calligraphy, the key lies in the determination of the main pen. In the creation of calligraphy, the main pen is established, the layout, potential development, structure, manipulation, pouring, and force support are all influenced by the main pen, and with the main pen, all breathe together. Therefore, a good word can be said to be like a good painting. [6] In Xiong Zhaozheng's vision, "calligraphy was first integrated with literature, but now it is disconnected and separated." [29] In fact, "books and paintings are cognate, and so are books and poems." The cognate of books and paintings is formal, both are lines; Books and poems are qualitatively homologous. They are all homologous, but the relationship is different." The source of the same origin of poetry, calligraphy and painting should be identified as the "sentiment" behind the subjectivity of the literati. Calligraphy and literature are integrated and mutually represented. The best calligraphy should be the artistic reproduction of Chinese characters. As a result, Xiong Zhaozheng criticized the current creation of calligraphy, "many people have separated calligraphy from literature and turned it into a simple formal beauty." This actually goes against the original meaning of Chinese calligraphy." [5]
Therefore, how the art of calligraphy expresses the mental trajectory of the creator at the moment, and how calligraphy is "re-expressed", some writers also have a clear analysis of this. They believe that with the shrinking of the application of calligraphy, the current living space of calligraphy is shrinking, and it can only exist as a form of pure art. Therefore, being able to express calligraphy beautifully through simplified characters is a problem in an ontological sense. Then when simplified characters will also change from elegant to customary, the performance of calligraphers obviously has a unique style and artistic characteristics. This places more demands on the calligraphy collection. In addition to the efforts of the literati, there is also the role of social aesthetic promotion. [30] Xiong Zhaozheng made it clear that he never used a computer to write. He was accustomed to the old-fashioned way of life of the literati, writing letters with friends with a brush and manuscripts with a fountain pen. [31] He reiterated that calligraphers should be literati first and foremost, and in cultural revival, the first thing to solve is the literati's own mental state and character pursuit. [30]
How the expression of calligraphy art can be accepted by the appreciator is an important dimension for the expression to achieve its purpose, and it is also the meaning of expression, which is the emotional identity conveyed by the abstract art that Jung said. In terms of appreciation of calligraphy, Wang Meng believes that people who do not understand wild grass can also admire the wild momentum of cursive writing, but it should be admitted that people who are illiterate or poorly literate are difficult to better appreciate calligraphy, and there is not only a problem of formal beauty but also a problem of large cultural background. Like other literary and artistic works, the acceptance of calligraphy is not only a process of "understanding", but also an important process of exploration, experience, resonance, joy, and interest. [32] Wang Xiangfu believes that calligraphy works sometimes allow people to directly touch the emotional strings of ancient and modern calligraphers, and sometimes you will move with the ink on the paper to appreciate good calligraphy works, which is the power of calligraphy, or it can be said to be magic. [25] Literary critic Bai Wei believes that in the aesthetic feeling of black and white contrast, the first thing is the aesthetic pleasure that calligraphy implies to provide viewers. [33] It can be seen that if the artistic expression of calligraphers is to resonate with the artistry of the appreciator, it is bound to require the viewer to improve his cultural accomplishment. In this way, a common expectation for spiritual and cultural accomplishment is formed, and it is also the important significance of realizing social culture and art to replace religion, and the aesthetic education of art to promote social progress. However, in art appreciation, it should not be over-explained, and it should still be carried out according to the art ontology and aesthetic form. In this regard, contemporary Chinese writers have a relatively clear understanding. Wang Meng believes that calligraphy is extremely abstract, and the humanities behind calligraphy cannot be explained too much, and the realm, personality, taste, etc. of the writer himself expressed in the text will go crazy if it is explained too much and quoted too much. [14]
Fourth, the value of calligraphy by contemporary writers in the theory of functionalism
This is clearly a bad time for Chinese calligraphy. Computer input replaces daily writing, the original writing application function of calligraphy is replaced by the computer of information processing, and calligraphy loses its universal application foundation. The specialization and professionalization of calligraphy education (many colleges and universities have a special calligraphy major to cultivate calligraphy professionals, and basic education departments such as primary and secondary schools rarely open calligraphy classes, especially brush calligraphy classes) make calligraphy high and low, and become a tool for individual insiders to entertain themselves or go to the market. Calligraphy is increasingly fading from the sight of ordinary people, gradually moving towards decentrality and marginalization. [34] In particular, literature, which was originally closely associated with calligraphy, gradually alienated the art of calligraphy, and the professional background of calligraphy has alienated contemporary Chinese calligraphers from literature. They write poetry and song every day, but they are oblivious to the cultural connotations behind poetry and song, or they are only scratching the surface, let alone writing poetry themselves. If we talk about performance, when the calligrapher cannot even write the content, how to express, only formal innovation or change, obviously can not deeply express the spirit and cultural style of the creator. For Chinese calligraphy, this cannot but be said to be a sobering question.
Cautiously optimistically, this is another good era for Chinese calligraphy. On the road of professionalism, calligraphy can re-reflect on itself and obtain a new aesthetic awareness, and through the baptism of modern culture and modern consciousness, calligraphy will also get new aesthetic photos, giving the blood support of Chinese cultural renewal. An effective proof is that since the end of the 20th century, China's economic and cultural revival, calligraphy, as one of the symbols of traditional Chinese culture, has gradually received social attention, and contemporary writers with full awareness of cultural expression have gradually devoted themselves to calligraphy activities. A large number of contemporary writers such as Jia Pingwo, Xiong Zhaozheng, Feng Jicai, Chen Zhongzhong, Wang Meng, Yu Qiuyu, Gao Jianqun, Zhang Xianliang and so on unconsciously chose calligraphy as an important carrier of free expression. In their calligraphy activities, a certain number of texts on calligraphy were written. The texts of these writers on calligraphy are scattered in various literature, culture, life, current affairs and other periodicals and newspapers, unlike professional calligraphers, where research and critical articles on calligraphy are published in distinctive professional magazines and newspapers. The difference in media channels makes the calligraphy activities of contemporary writers have important expressive characteristics of life, folk nature and literati interest, which is significantly different from the relative professionalism and closed nature of calligraphy activities of professional calligraphy practitioners. This is also the value of contemporary writers' concept of calligraphy, their literary sensitivity often speaks what calligraphers cannot say, and their literary celebrity effect has also played a positive role in the contemporary spread of calligraphy.
Therefore, it can be said that while contemporary writers choose calligraphy to express their own spirit and thoughts, it can also be said that calligraphy chooses contemporary writers. After more than 2,000 years of cultural accumulation, calligraphy not only represents, but is indeed one of the artistic expressions of the Chinese literati collective. Calligraphy, as an abstract art that encompasses many Chinese cultural spirits, has been re-selected by contemporary writers, giving contemporary writers a sense of cultural consciousness. Many of their calligraphy concepts that elaborate on expressive consciousness should be valued and accepted by professional calligraphers, and some of the literary expressive elements that Chinese calligraphy should have should also be promoted. Only in this way can Chinese calligraphy truly express the spiritual and cultural life of Chinese artists and truly get out of the dilemma of marginalization.
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