书法之本质，已有不少讨论，但至今尚无定论。一学派从王国维之古雅说中获取灵感。
王国维美学观点无疑是形式主义者。他主张从定义来说，美都是形式美，存于形式之对称、变化及调和。例如，英雄和他的境遇提供了小说或戏剧的材质，可是这些材质只能通过某种适当形式才能引起美的感觉。只有这个有别于材质的形式，才是美的对象。
他说形式有两种。那些由第一形式自然地和完美地表现出来的，能唤起优美和宏壮之美。那些由第二形式巧妙地表现出来的，可产生优雅的美的客体。第二形式不存在于自然世界。
王国维把第二形式美称为古雅。
通常说书法是写汉字的艺术。如果我们接受汉字是书法的第一形式，那么很自然的，可下结论说书法就是汉字之艺术表现的第二形式。
换句话说，书法是古雅的艺术。
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There have been a lot of discussions on the nature of Chinese Calligraphy without any generally accepted agreement till today. One school of thought gets its inspiration from Wang Guowei's theory of guya (古雅).
Wang’s view on aesthetics is no doubt that of a formalist. He asserts that all beauty is by definition formal beauty that lies in the symmetry, variety and harmony of form. For example, the hero and his situation provide the subject matter of a novel or drama, but this subject matter can arouse aesthetic feelings only through adequate form. Only this form, which is distinct from the subject matter, can become an aesthetic object.
He says that there are generally two types of form. What is expressed naturally and perfectly in the primary form will produce an aesthetic object of either the beautiful (优美) or the sublime (宏壮), and what is skillfully represented in the secondary form will produce an aesthetic object of the refined (古雅). The secondary form does not exist in the natural world.
The term guya consists of two Chinese characters: gu (ancient or classical) and ya (grace or elegance). Wang put them together to mean a kind of classical elegance or refined gracefulness in art.
It is generally accepted that Chinese Calligraphy is an art of writing Chinese words or characters. If one accepts that the Chinese characters are the primary form of Chinese Calligraphy, then one would naturally conclude that Chinese Calligraphy is the artistic expression of Chinese characters in their secondary form.
In other words, Chinese Calligraphy is a fine art of classical elegance.
王国维美学观点无疑是形式主义者。他主张从定义来说，美都是形式美，存于形式之对称、变化及调和。例如，英雄和他的境遇提供了小说或戏剧的材质，可是这些材质只能通过某种适当形式才能引起美的感觉。只有这个有别于材质的形式，才是美的对象。
他说形式有两种。那些由第一形式自然地和完美地表现出来的，能唤起优美和宏壮之美。那些由第二形式巧妙地表现出来的，可产生优雅的美的客体。第二形式不存在于自然世界。
王国维把第二形式美称为古雅。
通常说书法是写汉字的艺术。如果我们接受汉字是书法的第一形式，那么很自然的，可下结论说书法就是汉字之艺术表现的第二形式。
换句话说，书法是古雅的艺术。
.
There have been a lot of discussions on the nature of Chinese Calligraphy without any generally accepted agreement till today. One school of thought gets its inspiration from Wang Guowei's theory of guya (古雅).
Wang’s view on aesthetics is no doubt that of a formalist. He asserts that all beauty is by definition formal beauty that lies in the symmetry, variety and harmony of form. For example, the hero and his situation provide the subject matter of a novel or drama, but this subject matter can arouse aesthetic feelings only through adequate form. Only this form, which is distinct from the subject matter, can become an aesthetic object.
He says that there are generally two types of form. What is expressed naturally and perfectly in the primary form will produce an aesthetic object of either the beautiful (优美) or the sublime (宏壮), and what is skillfully represented in the secondary form will produce an aesthetic object of the refined (古雅). The secondary form does not exist in the natural world.
The term guya consists of two Chinese characters: gu (ancient or classical) and ya (grace or elegance). Wang put them together to mean a kind of classical elegance or refined gracefulness in art.
It is generally accepted that Chinese Calligraphy is an art of writing Chinese words or characters. If one accepts that the Chinese characters are the primary form of Chinese Calligraphy, then one would naturally conclude that Chinese Calligraphy is the artistic expression of Chinese characters in their secondary form.
In other words, Chinese Calligraphy is a fine art of classical elegance.
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