Abstract
The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.
Highlights
Having entered the third millennium, humanity is going through an era in which experiencing great speeds has become vital to everyday life
Our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object
Considering the fact that the context determines the type of artistic function, and its absence[84], will calligraphy lose its cultural importance in the post-industrial technological era? Will it manage to think the world through images and words?
Summary
Having entered the third millennium, humanity is going through an era in which experiencing great speeds (with respect to transportation, information, etc.) has become vital to everyday life. In Egypt, abbreviated paintings were used to represent sounds, the Egyptian hieroglyphs having later been transformed into the alphabet through an “acoustic (aural) transliteration” 15, in East Asia, the Chinese characters still mean stylized paintings used as paintings[16], or, in other words, stylized paintings of things or the concepts they represent, while remaining paintings of sounds[17]. This is an eloquent case in the history of humanity that hinders the understanding of a language in the absence of writing, the particular influence between the two changing the usual referent-signifier-signified relation[18]. Being less close to the represented objects, as is the case of the Egyptian writing, since it is a rather simplified image whose significance is shown through suggestion or imagination, the logographic writing, seemingly derived from painting[20], is more and more widely believed to have downright founded it
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