Abstract
Interview surveys targeting Chinese employees working for Japanese companies were conducted. As There is such a point of view in calligraphy criticism. What determines the quality of a calligrapher's work is not the work itself, but the character, character, and political position of the calligrapher. To put it another way: If the calligrapher is a noble person, then his writing must be excellent. Even if he doe s not understand calligraphy at all, it will not affect his high evaluation in the field of calligraphy. Conversely, if this person is not of good character and is not a good politician, even if his calligraphy skills are comparable to Wang Xizhi, he will not be recognized by people. I have doubts about the development and application of the above viewpoints in the field of calligraphy, which are closely related to traditional Chinese philosophical Confucianism, and whether calligraphy, which is now an independent discipline, still needs such a unified evaluation system. Therefore, the purpose of this article is to sort out from the perspective of Confucianism and the ontology of calligraphy, to explore how the above-mentioned viewpoints come into being, and the evolution process, and finally hope to make this theory more clearly affect the creative activities of calligraphy today.
