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Written text possesses the characteristics of "linear history" and irreversible time. Once presented in calligraphy form, in addition to the meaning of the text itself, it also adds to the visual aesthetic effect of the characters and the dynamic expression of the body during the writing process. Lines are not only the core of calligraphy expression, but also the foundation of human intellectual tools. They can be used to depict the outline or geometric forms of objects. This is the effect of the text being pictorialized （imitated）, allowing absent things to become objects of thought as if they were present, or to participate in cross-temporal and spatial dialogues among people.
In his early years, Zong Baihua believed that calligraphy is "the most symbolic expression of the unspoken and unformed human spirit and the rhythm of life." In his later years, he further explained： "Chinese calligraphy is a rhythmized nature, expressing a deeper conception of life images and becoming an art that reflects life." Therefore, this thesis intends to focus on Zong Baihua's thoughts on calligraphy, supplemented by the words of relevant calligraphers throughout history, as well as theories of art from both the East and the West. It combines the experiential evidence of the "writing posture" in calligraphy masterpieces to sort out Zong Baihua's aesthetic judgments and explore the appearance of "from writing posture to spiritual posture." The goal is to understand how the individual's inward transcendent power operates in the process of artistic creation. How are the constructed mental images and external artistic achievements integrated? And how does this process interact with the trends of the times and society? Ultimately, it aims to achieve the realm of natural creation.
In addition to discussing the research motivation, literature review, research methods, and scope in the first three chapters, from the fourth to the seventh chapter, the thesis will analyze the research on the creative subject, explaining the relationship between the artistic creative subject and the artwork. The process of creative formation is mainly analyzed from the perspective of the writer's operation, which belongs to the internal dynamic aesthetic analysis of writing expression. Furthermore, from the eighth to the ninth chapter, the thesis will study the general aesthetic perception from the perspective of art appreciation. After the creation of calligraphy works, their unique temporal artistic characteristics and the historical achievements accumulated through social circulation will be analyzed from the perspective of external static aesthetics.
Whether Zong Baihua has established the modern transformation of traditional aesthetics has always been a focal point of discussion. He believes that "reality is beyond time," just as artworks can repeatedly attract the attention and discussion of future generations in different time and space. Zong Baihua's aesthetic theory focuses on poetic understanding and deep exploration of artistic laws, creating a "strolling aesthetics" that is close to art and closely tied to experience, which is an attempt to reproduce this reality. Among them, in addition to the core vocabulary of "mood," "nature," "strolling aesthetics," and "integration of subject and object" in Zong Baihua's aesthetic thoughts, it will also combine traditional cultural thoughts such as yin and yang, unity of heaven and man, Zen enlightenment, etc., to explain how these profound connotations of Chinese culture are embodied in the expression and appreciation of calligraphy art.
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