Calligraphic Works Research Articles

Chinese Calligraphy Generation Based on Involution

The calligraphic works of particular calligraphers often contain only a limited number of characters, rather than the full set of Chinese characters required for typography, which does not meet practical needs. There is therefore a need to develop a complete set of calligraphic characters for calligraphers. Most of the recently popular methods for generating calligraphic characters are based on deep learning, using an end-to-end approach to generate the target image. Deep learning-based methods usually suffer from unsuccessful conversion of stroke structures when the printed font differs significantly from the target font structure. In this paper, we propose an involution-based calligraphic character generation model, which can realize the conversion from printed fonts to target calligraphic fonts. We improve the Pix2Pix model by using a new neural operator, involution, which focuses more on spatial feature processing and can better handle the relationship between strokes than the models using only convolution, so that the generated calligraphic characters have an accurate stroke structure. A self-attentive module and a residual block are also added to increase the depth of the network to improve the feature processing capability of the model. We evaluated our method and some baseline methods using the same dataset, and the experimental results demonstrate that our model is superior in both visual and quantitative evaluation.

Inscriptions Signed by Calligrapher Behçet Arabî in Urfa Architecture

Bir sanat eserinin oluşmasındaki başrol şüphesiz ki sanatkâra aittir. Sanatkârın eserini biçimlendirmesinde hayal gücü, mahareti ve üslubunun yanında yaşadığı kentin kültürünün de payı vardır. Hat sanatının önemli temsilcilerinden biri olan Behçet Arabî’nin eserlerinde de yaşadığı kent Urfa’nın etkisi söz konusudur. Öyle ki, hattat eserlerinin büyük bir bölümünde “Ketebehû Behcet Arabî” imzasını “Urfa” kelimesiyle tamamlayarak bu etkiyi izlenebilir ve kalıcı hale getirmiştir. Bu çalışmada, Behçet Arabî’nin biyografisi ve imzasının yer aldığı Urfa’daki kitabeler incelenmiştir. Literatür taraması, saha araştırması ve sözlü tarih çalışmanın yöntemleri arasındadır. Sözlü tarih bağlamında Behçet Arabî’nin öğrencisi Hattat Mahmut Dörtbudak ile kişisel görüşme yapılarak Arabî’nin biyografisi ile ilgili yeni bulgulara ulaşılmıştır. Ayrıca Şanlıurfa’nın Eyyübiye ve Haliliye ilçelerindeki 9 yapıda Behçet Arabî imzalı kitabeler tespit edilip hat sanatı çerçevesinde değerlendirilmiştir. Sanatkârın imzasının tespit edilebildiği yapılar Abamor Camii, Arabî Camii, Fırfırlı Camii, Hasan Padişah (Hasan Paşa) Camii, Mevlid-i Halil (Dergâh) Camii, Ubeydullah Camii, Urfa Ulu Camii, Yeni Arabî Camii ve Yenişehir Camii’dir. Araştırma sonucunda Behçet Arabî’nin Urfa mimarisine ve kentteki imza geleneğine katkı sunduğu sonucuna ulaşılmıştır

Japanese Calligraphy as Expression of Beauty and Communicative Act

This study focuses on the dual function of Japanese calligraphy ( shodō): expressive and pragmatic. The study will assess the way in which the calligrapher’s ideas are conveyed through shodō and how the public perceives them, illustrating the importance of both visual and linguistic components of calligraphic works. In order to highlight this phenomenon, two works created by

Cultural factors in the English translation of (the terminology of) Chinese calligraphy

ABSTRACT This paper investigates the cultural factors affecting the English translation of (the terminology of) Chinese calligraphy from a historical, societal and ethical perspective. The paper begins with a brief introduction to Chinese calligraphy, discusses the problems arising from the translation of its terminology, and the need to consider cultural factors when it is translated into English. These factors, which can be historical, social and ethical, are associated with calligraphic scripts, writing skills, writing tools and calligraphic works: if the translation does not consider these factors, the English version might cause misunderstandings or fail to communicate the connotations of the originals. Finally, the article makes some suggestions to improve the translation of Chinese calligraphy and particularly of its terminology.

Caps: Script Conversion in Calligraphic Works Using Deep Learning — Recognition of seal script characters and generation of running script works—

書道は日本の伝統的な文化である一方で，書道展は経験者の間で完結している．その要因の一つとして，鑑賞が書道の習熟度合いに大きく依存していることが挙げられる．そこで，本研究では書道初心者を対象にした鑑賞支援として，篆書の文字を認識し，行書の書体へと変換するシステムCaps（Calligraphy appreciation system）を開発してきた．篆書の文字認識には，畳込みニューラルネットワークを用いた手法を導入した．漢字が偏旁冠脚といったパーツから構成されるという特徴を利用して，書道作品に用いられる難読文字の認識を実現する．これにより，少ないデータ数と少ないクラス分類で，より性能の高い文字認識が可能になる．一方，行書体への変換には，敵対的生成ネットワークを用いた手法を導入した．文字骨格に対する筆跡の付与を学習したモデルを用いて，任意の漢字による書道作品画像を生成する．ここで，筆画情報と筆順情報をもった骨格画像を用いることで，効果的な筆跡の学習を実現した．評価実験を通じて，上記の二種類の手法を実装したCapsにより，書道作品に用いられる漢字の特定から書道作品画像の生成まで，直観的な操作に基づく鑑賞体験が可能になることを確認した．

DYNAMICS OF THE ART OF CONTEMPORARY ISLAMIC CALLIGRAPHY ARCHIPELAGO: Comparative Analysis of Malaysian and Indonesian Works

The dynamics of contemporary Islamic calligraphy in the archipelago have experienced rapid development after the emergence of institutions and foundations that developed the art, in addition to being often competed at many levels. This is supported by the existence of foundations and institutions, such as the Restu Foundation in Malaysia and the Al-Quran Calligraphy Institute (LEMKA) in Indonesia. In addition, various computer applications and increasingly sophisticated digital systems complement the completeness and beauty of contemporary Islamic calligraphy works of art. The objective of this study is basically to compare the contemporary Islamic calligraphy works produced in the archipelago. Among the aspects that are focused on are the applications and works of contemporary calligraphy that are developing in Malaysia and Indonesia through educational institutions and also their calligraphers. In addition, it describes the types and forms of his works in the two places of study, in addition to the influence, aesthetic value and the use of painting materials through the artist. Focus is also given to the forms and mediums used in producing calligraphy works of art. Furthermore, this study is also expected to find study findings such as a complete discussion of the similarities and differences of contemporary calligraphy art that exists in Malaysia and Indonesia, in addition to a discussion of the subtlety of artistic taste and sharpness of thinking, the artists and their calligraphers. Furthermore, the understanding of the Islamic community in the archipelago gives high respect to this artistic heritage as the best Islamic art for its people. It is also hoped that through this comparative study will manifest Islamic civilization that has been raised through the art of Islamic calligraphy based on the Qur'an and al-Sunnah in Southeast Asia.

تنفيذ تعليم تحسين الخط العربي لطلاب قسم تعليم اللغة العربية

This reaserch aims to describe the implementation of learning Tahsin al-Khat al-'Araby to students of the Arabic Language Education Program, Faculty of Tarbiyah and Teacher Training, KH Achmad Siddiq State Islamic University Jember. The results showed that the implementation of learning Tahsin al-Khat al-'Araby took place using the demonstration, lecture, and assignment. The goal is that students gain to write Arabic well, correctly, and beautifully, and are able to produce calligraphy works. The guidebooks used in the study are Kurrasah at-Thariqah al-I'tiyadiyyah fi Tahsin al-Kitabah by Sheikh Belaid Hamidy and Qawa'id al-Khath al-'Araby by Sheikh Hasyim Muhammad al-Baghdadi. There are two types of evaluation techniques, summative and formative. Summative evaluation is carried out at the end of each meeting. While formative evaluation is carried out at the end of the semester by making calligraphy works.

Doran's Being in Africa

<i>Doran's</i> Being <i>in Africa</i>

Research on Marketing Strategy of Chinese Painting and Calligraphy Art Based on Wireless Communication Network Resources

China has a thousand years of cultural heritage, and its famous paintings and calligraphy works are all representatives of the works of art. Calligraphy and painting have changed from works of art to commodities. This is undoubtedly caused by the changes of the times and society. Calligraphy and painting have gradually formed in this process. The most basic feature that distinguishes the market from other markets is the difference in marketing strategies. Aiming at the current problems in the online marketing of Chinese paintings and calligraphy works, a marketing strategy for Chinese paintings and calligraphy works based on wireless communication network resources is proposed. In view of the lack of accurate analysis of the current Chinese painting and calligraphy and artwork marketing and the uneven quality of the artwork, the above-mentioned problems can be improved through the allocation of wireless communication network resources. The experimental results show that the scope of dissemination of Chinese paintings and calligraphy works using this marketing strategy is wider, and the marketing transaction rate and profit are greater.

Politics and Calligraphy at the Courts of the Early and Middle Tang Dynasty

This article examines the Tang calligraphic collection from a socio-political perspective. Issues of the monumentality of Wang Xizhi’s calligraphy, the materiality of calligraphic works in the Inner Storehouse, the vicissitudes and accessibility of the imperial calligraphic collection are addressed here. This study demonstrates that the political implication of the imperial calligraphic collection is not only seen in the patronage of specific calligraphic works that expounded political messages, but also in the details of the management and uses of the calligraphic collection. The Tang rulers made innovative uses of calligraphy to cultivate their public image and strengthen their bonds with officials who were simultaneously audience, advisors, competitors and members of the same community of interests with the rulers. During the Tang dynasty, imperial collecting of calligraphy and the collection were adopted as a sign of cultured rule, a common aesthetic pursuit among the cultural elites, and a platform for power exchange and social interaction between the Tang rulers and ministers.

The Unity of the “Four Perfections” (si jue) in the Works of Wu Changshi (1844–1927)

The article is devoted to the creativity of Wu Changshi (1844–1927), who played a key role in preserving the continuity of Chinese fine art at the crucial initial stage of the global modernization of China&amp;apos;s traditional culture. The subject of the study is the aesthetics of the unity of the “four perfections” (si jue), which means poetry, calligraphy, painting and seals. The synthesis of the four arts seems to be a unique achievement of Chinese culture, which influenced the countries of the hieroglyphic area. Wu Changshi&amp;apos;s creativity is considered the culmination of the embodiment of the principle of unity of the “four perfections”. Wu Changshi&amp;apos;s calligraphic and pictorial works are accompanied by poems most often of his own composition. Before Wu Changshi&amp;apos;s creative impulse gained visual realization, he was invariably subjected to deep poetic and philosophical reflection, which predetermined the content of calligraphic and pictorial works. Thanks to this, the meanings of visual forms went beyond their genre affiliation. Wu Changshi created a variety of spatial and force effects in a small format of seals. Wu Changshi&amp;apos;s monumental and heroic style in calligraphy had no equal in its energy power and corresponded to the demands of the time. Wu Changshi reformed the pictorial tradition in the direction of epigraphic painting, combining elite intellectualism with the folk immediacy of color perception. The work is based on the latest publications of Chinese and Western art critics. The research combines the techniques of traditional Chinese art studies with the methods of Western interdisciplinary analysis.

CONTEMPORARY CALLIGRAPHY IN PERFORMATIVE PRACTICES OF ARTISTS OF CHINA

The article highlights the trends in the development of modern Chinese visual art in the context of the transformation of traditions into ultra-modern types of visual art, keeping the key message in the primary philosophical sense. The focus of the study is on the work of artists who transform the traditional art of calligraphy into a modern performative act in order to reproduce the feeling of the flow of calligraphic movements. Traditional art in every nationality plays a very important role as the basis of cultural heritage. It is in this context that contemporary performative practices based on calligraphy, as one of China’s oldest visual arts, are interesting for research. In such a transformative combination, we can observe how the mission to preserve the centuries-old traditions of China is re alized. Using specific examples of group and personal projects, an art-critic analysis of the performances of contemporary artists will be carried out, as one of the most dynamic and controversial spheres of experimental art practice in China. The growth of the development of all types of visual arts in China after the Cultural Revolution became the basis for the development of performative practices. Transforming the philosophical foundation and&nbsp;aesthetic component of the traditional art of Chinese calligraphy, contemporary artists create relevant art and combine it with performative practices. The uniqueness of the phenomenon of performance with the use of calligraphy is that the aesthetics of the movements of the traditional art of calligraphy, laid together with the birth of calligraphy, dictates the performance of calligraphic works in modern works as well. Based on the traditional techniques of writing a calligraphic work, the art of movements was realized in the transformation of the human body into an instrument of the artist’s creation. In conclusion, it is emphasized that the combination of «traditional» with «newest» trends in one work contributes to the rethinking of the role of thousand-year-old images in the art of today, as well as the identification of Chinese artists in the globalized intercultural space. The information contained in this article will be useful during an in-depth study of the art of Chinese calligraphy.

An Epigraphical Journey through Bengal

The study of the architectural inscriptions of the Bengal Sultanate provides us with a new opportunity to look into the rich cultural history of this hinterland of South Asia. Most of the early Islamic monuments in the region had calligraphic works on them, as inscriptions were considered a powerful medium to convey visual, cultural, and spiritual messages to people. These inscriptions were rendered in various styles such as Kūfī, Thuluth, Naskh, Riqa‘, Rayḥānī, Muḥaqqaq, Ṭughrā’, and Bihārī. This article focuses on some interesting inscriptions discovered in various parts of Bengal. Special attention is given to the analysis of information derived from them in their historical contexts, such as the names of the contemporary rulers, local administrative officers, religious figures, military commanders, and their titles. These findings help us understand the contemporary political, administrative, social, religious, and cultural aspects of the region.

Contribution to the Art Analysis of Qurʼan Caligraphy on the Examples of Mushafs from Gazi Husrev-beg Library

Bosniak calligraphers of the 17th and 18th centuries understood the copying of the Qur’an as one of the imperatives of their calligraphic work and they tried to show all their skills. Ten copies of Mushafs from the collection of the Gazi Husrev-beg Library in Sarajevo were chosen for the purposes of this research. Analysis shows that each calligrapher was up to the task, but difference in the quality of their work was noticed. Some calligraphers lack skill, like hafiz Mustafa son of Omer from Mostar. Those more skilful made kind of deviation from the tradition, such was done by Bi-zaban Ali-pasha. The most famous Bosniak calligrapher at the turn of the 18th and 19th centuries, hafiz Ibrahim Šehović, shows on each page the self-awareness and the ability to bridge the forbidden. It is ungrateful to choose the best calligrapher, but it will be concluded that Osman Bosnian stands out. This paper tried to show the potentials of the artistic analysis of calligraphy in the Mushafs copied in Ottoman Bosnia.

The Role of Myths in Japanese Calligraphy’s Interpretative Process

The Role of Myths in Japanese Calligraphy’s Interpretative Process. This article illustrates the role of myths in the interpretative process of calligraphic works. Being considerably different from Western calligraphy, Japanese calligraphy (shodō) may seem at times visually similar to abstract art. However, calligraphic works – and shodō as art – are rich in meaning and abundant of myths. Focusing on both linguistic and visual elements of calligraphy, the article depicts how myths can be identified in a calligraphic work and how they provide a better understanding of the particularities of shodō. In order to illustrate how myths uncover new layers of meaning, the article incorporates an analysis of a calligraphic work created by Rodica Frențiu, underlining the process of accessing the transcendent meaning. Keywords: shodō, Japanese calligraphy, calligraphy, cultural semiotics, Japanese studies, kanji, myth, Zen, Buddhism.

Thoughts on the Artistic Standpoint of the Study of Seal Cutting in the Ming and Qing Dynasties

Seals have appeared in China since the Yin and Shang dynasties, and the art of seal cutting was once all the rage during the Qin and Han dynasties. With the development and popularization of papermaking and printing technology, the combination of seals and calligraphy and painting has become more common. Calligraphers and painters have their own private seals for signing off their works. These seals, each with its own characteristics, maintain harmony and unity with the aesthetic taste of the artist and his painting and calligraphy works, revealing a strong artistic atmosphere and humanistic feelings. In the art history of Chinese seal cutting, the Ming and Qing dynasties have unique characteristics. Related scholars are more inclined to explore the Ming and Qing seal cutting from the standpoint of art. In-depth study of the development history and artistic creation elements of the Ming and Qing seal cutting art was conducted which is conducive to a better understanding of the seal cutting in Ming and Qing dynasties. Significant references and guidance are therefore presented for us to better grasp the characteristics and connotation of seal cutting.

Painting and calligraphy identification method based on hyperspectral imaging and convolution neural network

It is of great social value and cultural and technological innovation demonstration value to carry out the research on the scientific identification method of painting and calligraphy works of art, and it is of great effect to the trade, collection, and protection of painting and calligraphy works of art. Spectral imaging, as an information acquisition method of attribute and visual synchronous perception, can be used for painting and calligraphy identification. In particular, through hyperspectral imaging and data analyses, we can identify the pigment ink used in painting, judge the printing characteristics, and find the painting information invisible to human eyes, to comprehensively judge the authenticity and abnormality of painting. However, due to its lack of matching painting and calligraphy identification model and algorithm, as well as special painting and calligraphy atlas database support, it is difficult to be competent for rapid and accurate identification in practice. Because of the above problems, in this paper, it is simulated the expert identification process for artificial intelligence analysis and modeling, adopts the idea of combining hyperspectral imaging and Atlas intelligent learning, proposes a method of atlas feature extraction for calligraphy and painting identification, and designs and studies convolution neural network(CNN) based on atlas feature, traditional image feature, and the mixed feature of atlas and image, to judge the authenticity of calligraphy and painting, the author and so on. The actual test results show that the convolution neural network based on the atlas features is the best, the author classification accuracy and authenticity identification rate in the test sample set are more than 96.5%, and it can also be seen that in the pseudo color image data, adding multivariate spectral features can greatly improve the accuracy significantly.

A Study on the Aesthetic Boundary of Brewing Tea Samadhi in Chusa’s Calligraphy Work of Tea Poetry

A Study on the Aesthetic Boundary of Brewing Tea Samadhi in Chusa’s Calligraphy Work of Tea Poetry

Pembelajaran Seni Kaligrafi Berbasis Eksperimen Kimia di Sekolah Dasar Negeri 8 Kawunglarang Rancah Kabupaten Ciamis

Learning the art of calligraphy based on chemical experiments is an activity of learning the art of calligraphy in developing the potential of students to foster creativity, instill value, and develop productive abilities by using harmless materials, namely using colored plants. The purpose of this research was to determine the process and to obtain calligraphy work in learning the art of calligraphy based on chemical experiments. The type of method used in this research is field qualitative research. The data sources in this study were divided into two: first, primary data sources consisting of the principal, educators, and students of SDN 8 Kawunglarang Rancah; second, secondary data sources obtained through tracing of various references. Furthermore, the data collection instruments used were observation, interviews, and documentation, as well as the data analysis techniques used, namely through three stages including data reduction, data presentation, and drawing conclusions. The results of this study indicate that the process of learning the art of calligraphy based on chemical experiments includes the planning, implementation, and evaluation stages. The work of SDN 8 Kawunglarang students is still in the basic stages so there are several mistakes in its making.

Textual Research on the Calligraphy Work Undersigned by Liu Yong in Capital Museum of China

Textual Research on the Calligraphy Work Undersigned by Liu Yong in Capital Museum of China