Dismantling and Rebuilding：On the Generation of Aesthetic Subjectivity in Calligraphy Copying

Abstract

Calligraphy copying, as an artistic expression and practical method for the historical inheritance of traditional calligraphy, has long been under the domination of the inherent aesthetic paradigm of the copying tool theory. This not only deprived it of its true aesthetic subjectivity and speculative ability but also directly led to this typical traditional Chinese art practice gradually falling into a state of self-doubt and confusion in the context of cultural innovation and media transformation in the new era. It even began to face extreme questioning of the uselessness of copying. Against this backdrop, reexamining the historical limitations of the copying tool theory framework and providing a thorough theoretical explanation for its ontological shift, while observing the basic logic of the generation of aesthetic subjectivity, is undoubtedly the key approach to breaking through this predicament. Therefore, reconstructing a rational and autonomous artistic thinking and identity consciousness is the fundamental for the generation of aesthetic subjectivity. With the continuous integration and deepening of perspectives on art theory issues between the East and the West, only by thoroughly breaking through the framework of the traditional copying tool theory and deeply examining the artistic occurrence and ontological connotation of copying practice from the perspectives of phenomenology and hermeneutics can we truly understand the reasons for the transformation of the aesthetic paradigm of the calligraphy tool theory. Only by analyzing the hermeneutic circle of the subject-object relationship in copying practice and revealing the awakening path of the copying subject consciousness can we obtain the philosophical basis for the independent artistic practice of copying itself through the generation of aesthetic subjectivity.