Abstract
The paper aims to identify specificity of hieroglyphs functioning in the traditional Chinese art by the example of calligraphy, carved print and painting. The author examines development stages of hieroglyphics as an object and subject of cognition, analyses its functions, identifies levels and ways of hieroglyphics involvement into figurative space of calligraphic and pictorial works. It is shown that the Chinese art has been characterized by artistic synthesis from the moment of its origin. The researcher proposes a new approach to the problem of synthesis of calligraphy, painting, carved print and hieroglyphics, introduces uninvestigated theoretical materials into scientific circulation, which constitutes scientific originality of the study. The conducted research allows concluding that the hieroglyph is an integral element of painting and calligraphy, a subsidiary component of the aesthetic and semiotic system.
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