The calligraphy is not a minor theme, but part of the enormous system of Chinese ideology and a specific manifestation of it. When the stipples in painting are regarded as the trigrams in it, then the stipples contains the Yinyang and vigor, thus naturally surpassing the physical form and quality of the calligraphy. When the book is interpreted as the “carrier of meaning”, its form and quality are generated into the “imagery” with implication, further weakening its formal features. As a result, the calligraphy is prescribed and understood as a living existence with both airs and flesh, hence the “form” of the calligraphy conducted to “metaphysics”. Accordingly, appreciation of the “calligraphy” actually means appreciation of Taoism, nature and life. So appreciation of the calligraphy takes no count of only visual view but imbibes its marvelous taste. In a sense, our theoretical selfconsciousness to the calligraphy is a theoretical selfconsciousness surpassing visual sense and returning to sense of taste.

the calligraphy; form; metaphysics; taste