Calligraphy strokes can create rich, subjective, materialized images. This phenomenon has rarely been studied scientifically. This research proposes a dual experiment framework to investigate this phenomenon and thus construct a mathematical model of its subjective space. In experiment 1, 15 horizontal calligraphic strokes written by famous calligraphers were chosen as stimuli. A total of 21 subjective materialized perceptual dimensions were chosen, a visual analog scale was created, and 252 ordinary people were recruited to evaluate them using the scale. Principal component analysis on the data reveals the following characteristics of the subjective materialized space of the selected strokes. First, it has two dominant dimensions: the main axis corresponds to the style tendency of “vigorous vs. beautiful," which has been frequently discussed in traditional calligraphy literature, and the sub-main axis corresponds to the style tendency of “regular vs. cursive." Second, its third and fourth dimensions' contribution cannot be ignored, and its specific perceptual meaning needs to be further explained. Third, different forms of strokes are distributed in different positions of the space, and different perceptual dimensions correspond to different directions starting from the spatial origin. In łinebreak experiment 2, each tester was tasked with assessing the subjective differences between the 15 selected strokes utilized in experiment 1. Multidimensional scaling on the data shows a spatial pattern resembling that created by PCA in experiment 1. In addition to confirming the ideas in traditional calligraphy theory, they also offer an expandable mathematical model and experimental framework for empirically studying the aesthetic perception of calligraphic strokes.