earticle

영어

This study takes the traditional Chinese philosophical concept of “Unity of Ti and Yong (Embodiment and Function)” as its theoretical framework to explore the intrinsic unity and dialectical relationship between Dao and Qi in Chinese calligraphy. Through a combined approach of literature analysis and historical interpretation, it systematically traces the evolution of Ti–Yong thought from the Pre-Qin and Wei-Jin periods to Song-Ming Neo-Confucianism, revealing the philosophical basis for the transformation of calligraphy from practical writing to aesthetic expression. The paper constructs a progressive model of “Ti–Yong–Dao–Qi” and interprets the generative logic of calligraphic art from dual perspectives: “characters as Ti, rules as Yong,” and “Dao as Ti, beauty as Yong.” It argues that the experiential Qi of handwriting and the transcendental Dao of calligraphic aesthetics are mutually generative and harmoniously integrated. By examining contemporary phenomena such as the “Ugly Calligraphy (Chou Shu)” trend and current creative practices, this research highlights the practical significance of the Ti-Yong unity paradigm for innovation in modern calligraphy, art education, and the cultivation of cultural confidence. Ultimately, it underscores the integration of theory and practice as the path toward unifying writing quality and artistic expressiveness, reaffirming calligraphy’s role as a vital embodiment of Chinese aesthetic and cultural spirit.