<?xml version="1.1" encoding="utf-8"?>
<article xsi:noNamespaceSchemaLocation="http://jats.nlm.nih.gov/publishing/1.1/xsd/JATS-journalpublishing1-mathml3.xsd" dtd-version="1.1" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"><front><journal-meta><journal-id journal-id-type="publisher-id">JCER</journal-id><journal-title-group><journal-title>Journal of Contemporary Educational Research</journal-title></journal-title-group><issn>2208-8466</issn><eissn>2208-8474</eissn><publisher><publisher-name>Bio-Byword Scientific Publishing Pty. Ltd.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.26689/jcer.v8i6.7198</article-id><article-categories><subj-group subj-group-type="heading"><subject>Article</subject></subj-group></article-categories><title>The Aesthetic Connotation of Ancient Calligraphy</title><url>https://artdesignp.com/journal/JCER/8/6/10.26689/jcer.v8i6.7198</url><author>ZhangJian</author><pub-date pub-type="publication-year"><year>2024</year></pub-date><volume>8</volume><issue>6</issue><history><date date-type="pub"><published-time>2024-07-03</published-time></date></history><abstract>From the origin of writing to the formation of the writing system, the names and aesthetics of calligraphy have been evolving with time. Calligraphy has different mainstream writing styles across different eras and has been assigned different names, which also maps the aesthetic orientation of the times. Not only is calligraphy the evolution of the designation of successive generations but also in the continuous pursuit of “name” and “reality” of the unity of the ancient connotation of calligraphy and the era of aesthetic integration. This paper discusses the flavorful meaning behind the concept of ancient calligraphy, as well as its various forms of expression.</abstract><keywords/></article-meta></front><body/><back><ref-list><ref id="B1" content-type="article"><label>1</label><element-citation publication-type="journal"><p>Guo D, Zuo Z, 2016, Translation and Commentary, Zhonghua Shubu, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B2" content-type="article"><label>2</label><element-citation publication-type="journal"><p>Pan Y, (ed), 2010, Gui Dizi Translation and Annotation, Xuanhe Shu Zhi, Hunan Art Press, China.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B3" content-type="article"><label>3</label><element-citation publication-type="journal"><p>Huang J, 1979, Selected Essays on Calligraphy Through the Ages, Shanghai Calligraphy and Painting Publishing House, Shanghai.</p><pub-id pub-id-type="doi"/></element-citation></ref><ref id="B4" content-type="article"><label>4</label><element-citation publication-type="journal"><p>Fan B, 2021, History of Chinese Calligraphy and Painting Aesthetics, Rongbaozhai Publishing House, Beijing.</p><pub-id pub-id-type="doi"/></element-citation></ref></ref-list></back></article>
