Abstract: This paper focuses on the dialectical unity of “skill” and “Tao” in Chinese calligraphy and painting aesthetics and its philosophical attributes as the ontology of art. Combining the multi-dimensional analysis framework of aesthetics, philosophy and traditional Chinese art, it aims to reveal that calligraphy and painting aesthetics is not only an important part of artistic creation and aesthetic experience, but also contains profound philosophical thinking. By placing the relationship between “skill” and “Tao” in the perspective of Chinese philosophical ontology and epistemology, it is pointed out that calligraphy and painting are not only a form of expression of visual art, but also a philosophical practice of dialogue between the subject’s spiritual world and the cosmic order. This practice uses “skill” as a medium and “Tao” as a goal to achieve the dynamic unity and integration of art and life. This paper not only helps to enrich and develop the theoretical system of calligraphy and painting aesthetics, but also provides new ideas for the innovation of art theory in the context of globalization.
Dong Wang (2025) studied this question.