Chinese Calligraphy Research Articles

The Role of the Art of Chinese Calligraphy and Music in Developing Creative Thinking Skills in Preschoolers Using Flipped Technology.

The article aims to study the influence of music and music-calligraphy practice on the development of creative thinking among preschool children. The study used the general screening model of the Torrance Thinking Creatively in Action and Movement test (TCAMt) to assess the level of motor creativity in children. The study participants were 120 4-5 year-old children. The results of the calculations demonstrate an increase in the values of the four factors after the interventions. Fluency increased on average: for group A, which practiced musical intervention, by 28%; for group B, which practiced musical-calligraphic intervention, by 29%. The imagination factor increased for group A by 23.5% and for group B by 45.5%. This study has shown that the use of musical-calligraphic practice provides higher creative thinking skills in the categories of "imagination" and "originality", while "fluency" and "flexibility" are not different from the use of a single musical practice. This study has practical and scientific value, as it proves the influence of music and music-calligraphy practices on creativity development in children. The study results can be applied in preschool educational institutions, which are interested in increasing students' creativity.

The Impression of Round and Square: Chinese Calligraphy Aesthetics in Modern Type Design

Round and square are important concepts in Chinese aesthetics. The legacy of Chinese calligraphy aesthetics has led the way to modern design. In HCI, interface typefaces influence users’ reading experiences. Users’ aesthetic preferences may influence their reading experiences as well. The investigation of how human aesthetic preferences are affected by character visual features (e.g., character size and character weight) in type design has received substantial attention. However, it is difficult to accurately study human aesthetic preferences through these visual features in Chinese calligraphy-type design. How Chinese character visual features affect human aesthetic preferences is not clear. Inspired by graphic design, different visual features (e.g., color and texture) can cause changes in impression expressions (e.g., modern and classical), thus affecting human aesthetic preferences. In this article, we introduced a character impression analysis method to investigate how human aesthetic preferences are affected by Chinese character visual features. First, we proposed two impression expressions of character (round and square) from the concepts of Chinese aesthetics; Then, for these two impression expressions, we modeled four visual features of calligraphy characters from the principles of Gestalt psychology. Finally, we conducted two studies to investigate how visual features affect impression expressions and explored the relationship between aesthetic preferences. The results clearly explain how character visual features affect human aesthetic preferences. The present study can give designers a deep understanding of how visual features affect human aesthetic preferences based on character impression analysis. It can guide designers to make better type design decisions to achieve a high aesthetic preference for users. Furthermore, the findings of the present study can potentially provide new insights into Latin type design.

Artistic Robotic Arm: Drawing Portraits on Physical Canvas under 80 Seconds.

In recent years, the field of robotic portrait drawing has garnered considerable interest, as evidenced by the growing number of researchers focusing on either the speed or quality of the output drawing. However, the pursuit of either speed or quality alone has resulted in a trade-off between the two objectives. Therefore, in this paper, we propose a new approach that combines both objectives by leveraging advanced machine learning techniques and a variable line width Chinese calligraphy pen. Our proposed system emulates the human drawing process, which entails planning the sketch and creating it on the canvas, thus providing a realistic and high-quality output. One of the main challenges in portrait drawing is preserving the facial features, such as the eyes, mouth, nose, and hair, which are crucial for capturing the essence of a person. To overcome this challenge, we employ CycleGAN, a powerful technique that retains important facial details while transferring the visualized sketch onto the canvas. Moreover, we introduce the Drawing Motion Generation and Robot Motion Control Modules to transfer the visualized sketch onto a physical canvas. These modules enable our system to create high-quality portraits within seconds, surpassing existing methods in terms of both time efficiency and detail quality. Our proposed system was evaluated through extensive real-life experiments and showcased at the RoboWorld 2022 exhibition. During the exhibition, our system drew portraits of more than 40 visitors, yielding a survey outcome with a satisfaction rate of 95%. This result indicates the effectiveness of our approach in creating high-quality portraits that are not only visually pleasing but also accurate.

Investigation and Analysis of the Current Situation of Chinese Calligraphy Teaching in Primary Course

With the increasing promotion of international Chinese teaching, Chinese culture is more and more favored by many nations in the world. As an important part of Chinese culture, calligraphy exudes endless charm, attracting many foreign students to enter calligraphy classes to learn and explore this ancient Chinese art. At the same time, calligraphy teaching can also correct the mistakes of foreign students in writing Chinese characters and cultivate good writing habits, which is not only conducive to improving the level of Chinese, but also can effectively spread Chinese culture. Then how to implement calligraphy teaching in international Chinese class? This paper mainly explains the particularity of Chinese calligraphy in international Chinese teaching by comparing the differences of calligraphy teaching at home and abroad, then investigates and analyzes the current situation of elementary Chinese calligraphy classroom teaching. Foreign calligraphy courses can learn from domestic calligraphy teaching and other courses, and try to put forward corresponding solutions to provide reference for the calligraphy teaching of international students.

The Value of Chinese Calligraphy Artistic Symbols in the Packaging Design of Creative Products

Cultural and creative products play an important role in promoting social and economic development. China’s traditional art culture is not only indispensable in the development of its own cultural and creative products, but also an important source of inspiration and materials of international cultural and creative industries. Cultural and creative products are not only the exchange and common development of Chinese culture in other countries, but also further promotes the response to the policy of “The Silk Economic Belt and 21st-Century Maritime Silk Road” and “Building a Community with a Future for Humanity.” Chinese calligraphy are a huge part of Chinese art and culture. In this paper, the cultural and artistic value of Chinese characters on packaging design was studied through case study and visual analysis. The analysis is mainly based on the current situation, problems, and innovative exploration of various elements of Chinese calligraphy and artistic symbols in the packaging of creative products. Because of the design and development of the artistic symbols of Chinese characters, the significance of the research results not only display the unique cultural heritage of China, but also provide reference for cultural and artistic exchanges, innovative development, and integrated development of other countries.
 Keywords: Cultural and creative products; Chinese traditional culture and art; Chinese calligraphy art; Artistic symbols; packing design; Integrated development

The Challenges and Development Strategies of Contemporary Chinese Painting

The purpose of this paper is to discuss the dilemmas and challenges of contemporary Chinese calligraphy painting in art creation and its development strategies. As an important part of traditional Chinese culture, Chinese painting has been widely recognized and praised by the world for its unique artistic style and cultural connotation. However, with the change of the times and the development of the society, Chinese calligraphy painting also faces many problems and challenges, such as the contradiction between tradition and innovation, the lack of calligraphy and painting techniques, and the pressure of marketization and commercialization. Taking the lack of brush and ink as the entry point, this paper conducts an in-depth study of the artistic creation dilemma of contemporary Chinese calligraphy and painting, explores the reasons and influences behind it, and proposes corresponding development strategies, including strengthening art education and training, improving government support and supervision, and encouraging artistic innovation and experimentation. Among them, strengthening art education and training is the key to improving the level of creative writing and enriching the cultural connotation of painting. Government support and supervision can regulate the market order and protect the rights and interests of artists. Encouraging artistic innovation and experimentation can promote the artistic development of Chinese calligraphy painting and explore new ways of expression.

Feature fusion and decomposition: exploring a new way for Chinese calligraphy style classification

Feature fusion and decomposition: exploring a new way for Chinese calligraphy style classification

Dynamic Art: Chinese Calligraphy

The purpose of this study is to investigate the effects of modern society on the aeathetics of traditional Chinese Calligraphy, and techniques to preserve these aesthetics through designing a curatorial project. From the conducted research, it is evident that modern interpretations of calligraphy have driven away from traditional aesthetic standards. The paper will present an exhibition design that portrays ancient aesthetics through the manipulation of space. The organization of the exihibition relied heavily on Barry Judithss article, Dissenting Spaces, in the book: Thinking about Exhibitions. The significance of such a design is to introduce the Chinese Calligraphy without misinterpretations to the society.

Robotic Writing of Arbitrary Unicode Characters Using Paintbrushes

Human handwriting is an everyday task performed regularly by most people. In the domain of robotic painting, multiple calligraphy machines exist which were built to replicate some aspects of human artistic writing; however, most projects are limited to a specific style of handwriting, often Chinese calligraphy. We propose a two-stage pipeline that allows industrial robots to write text in arbitrary typefaces and scripts using paintbrushes. In the first stage, we extract a set of strokes from character glyphs which are similar to how humans choose strokes during writing. In the second stage, we generate corresponding brush trajectories by applying a brush model to the extracted strokes. Our brush model computes the required brush pressure to achieve the given stroke width while also accounting for brush lag. We also present a method to automatically measure the parameters needed to predict brush lag by painting and recording calibration patterns. Our method generates trajectories for text in any given typeface, which, when executed by a robotic arm, results in legible written text. We can render most writing systems, excluding emoji and ligatures, in which arbitrary texts can be specified to write.

"Participation Is Fun and Empowering": A Participatory Approach to Co-Design a Cultural Art Program for Older Chinese at Risk of Depression in Hong Kong.

Internalized ageism and stigma of mental illness may disempower older people and impede help-seeking among those at risk of depression. Arts are deemed enjoyable, stigma-free, and conducive to mental health, and a participatory approach can engage and empower potential service users. This study aimed to co-design a cultural art program and test its feasibility in empowering older Chinese people in Hong Kong and preventing depression. Adopting a participatory approach and guided by the Knowledge-to-Action framework, we co-designed a 9-session group art program using Chinese calligraphy as the channel for gaining emotional awareness and facilitating expression. The iterative participatory co-design process engaged 10 older people, 3 researchers, 3 art therapists, and 2 social workers through multiple workshops and interviews. We tested the program's acceptability and feasibility in 15 community-dwelling older people at risk of depression (mean age = 71.6). Mixed methods were used, including pre- and postintervention questionnaires, observation, and focus groups. Qualitative findings suggest the feasibility of the program, and quantitative findings indicated its effects in increasing empowerment (t(14) = 2.82, p < .05), but not in other mental health-related measurements. Participants reflected that active participation and learning new art skills were fun and empowering, arts enabled them to gain insight into and express deeper feelings, and groups with peers made them feel relatable and accepted. Culturally appropriate participatory arts groups can effectively promote empowerment in older people, and future research should balance eliciting meaningful personal experiences and measurable changes.

중국 서예교과 전공 대학생의 학습 자기효능감이 혁신행동에 미치는 영향

Objectives This study attempted to investigate the effect of learning self-efficacy on innovative behavior in Chinese calligraphy students.&#x0D; Methods For the study, a survey was conducted on 213 students for a total of six weeks from the end of October to mid-December 2022 with college students majoring in 4-year calligraphy in A City, Hanam Province, China. To verify the research hypothesis, frequency analysis, exploratory factor analysis, reliability analysis, and correlation analysis were conducted using SPSS Statistics 22. And independent sample t-test and one-way ANOVA were conducted to find out the differences in variables according to general characteristics, and regression analysis was conducted to verify hypotheses through the concept of measurement.&#x0D; Results TAs a result of the old study, first, it was found that there was a significant difference in the gender of college students majoring in calligraphy. Second, it was found that learning self-efficacy and difficulty preference had a positive (+) effect on creative thinking ability. Third, it was found that learning self-efficacy had a positive (+) effect on empathy ability. Fourth, it was found that learning self-efficacy and difficulty preference had a positive (+) effect on adaptation efforts. Therefore, it was found that learning self-efficacy had a partial effect on innovation behavior.&#x0D; Conclusions TSince learning self-efficacy and innovation behavior perceived by Chinese calligraphy college students have a partial influence, it suggests that various educational support systems should be developed in universities that can improve learning self-efficacy and innovation behavior.

Drawing Breath

This project describes and discusses the performance piece Drawing Breath (2022), which combined ethnographic research into traditional Chinese calligraphy with experimental art practices to produce a drawn visualization of breathing. It first identifies the ways in which breathing is related to the practice and appreciation of Chinese calligraphy, then discusses other aspects of traditional Chinese writing practice relevant to issues of movement and embodiment. Notions of qi (‘breath’ or ‘energy’) and its associated meditative and physical practices are related to calligraphic mark-making, and Chinese aesthetic theories regarding ‘force’ and ‘form’ are presented in the context of Daoist ontological models of immanence, polarity and interdependent opposites. The paper concludes by reflecting on issues of cross-cultural artistic interaction and cultural appropriation, arguing that contemporary western drawing practice, especially that exploring notions of movement, embodiment and performance, benefits greatly from engaging with non-western practices and ontologies.

从先秦士人审美观看当下中国书法美学建构的 得失与反思

As the main representatives of calligraphy aesthetic activities, ancient Chinese intellectuals used Chinese characters as the medium to promote the continuous development of this unique oriental aesthetic characteristic of calligraphy. Ancient intellectuals understood the dialectical thinking of philosophy in the Qin Dynasty, and the literary and artistic thoughts in many famous works and the literary theories of the past dynasties even indirectly or directly shaped their aesthetic concepts of calligraphy. The philosophical concepts and philosophical categories in ancient Chinese classics have played a leading role in the construction of contemporary Chinese calligraphy aesthetics. It can be said that the aesthetics of ancient intellectuals is the original category of all art, and current calligraphy scholars should fully absorb and learn from it. Therefore, the construction of the discipline system of Chinese calligraphy aesthetics is particularly important for learning from ancient calligraphy aesthetics. The current aesthetics of calligraphy is different from the powerful scientific cognition system in the West. There are still many problems in the construction of aesthetics of Chinese calligraphy. The accurate construction of aesthetics of calligraphy requires not only a clear understanding, but also a deep understanding of ancient Chinese knowledge systems and literati traditions. Developed under the aesthetic consideration of calligraphy, and based on the integrated humanistic knowledge system, this is the only way to truly establish the current calligraphy aesthetics construction towards discipline and theory. In recent years, Chinese calligraphy scholars tend to interpret Chinese calligraphy art within the framework of Western culture, and are relatively lacking in understanding the depth of aesthetic concepts and artistic conception of Qin Dynasty philosophy, lacking in depth and breadth. This paper focuses on the construction of the discipline of Chinese calligraphy aesthetics, and analyzes the “gain and loss” of the academic tendency of Chinese calligraphy aesthetics, which is of great significance.&#x0D; 中国古代士人作为书法审美活动的主体，他们以汉字为媒介，推动着这一独具东方美学特色的书法艺术不断向前发展。古代士人深谙先秦哲学的辩证思维，诸思想名著中的文艺思想和历代文论更是间接或直接的塑造了他们的书法审美观念。中国古代先秦典籍中的哲学观念和哲学范畴更是对当下中国书法美学的建构起到了高屋建瓴的思想引领，可以说先秦士人审美观是一切艺术的元范畴，当下的书法学者应当充分的吸收、借鉴。因此，中国书法美学的学科体系建构对于借鉴古代士人传统下的书法审美观尤为重要。当下书法美学不同于西方强大的科学认知体系，中国书法美学建构仍存在着诸多问题，对当下书法美学的准确建构不仅要有清醒的认知，而且必须在深入了解中国古代知识系统和士人传统的审美观照下开展，并以浑融一体的人文知识系统为主，这才是真正确立当下书法美学建构走向学理化的必经之路。近年来，中国的书法学者倾向于以西方学问的框架诠释中国书法艺术，对于领悟先秦哲学的审美观念深度和意境内涵相对匮乏，缺少深度和广度。本文围绕中国书法美学学科的建设问题，充分分析了中国书法美学学术性倾向的“得失”，具有重要意义。

The Value of Artistic Symbols of Chinese Calligraphy Art in Packaging Design of Creative Products

Cultural and creative products promote social and economic development. China's traditional art culture is not only indispensable in developing its own cultural and creative products but also one of the important sources of international cultural and creative industries for its design inspiration and material generation and development. It is not only the exchange and common development of Chinese culture and the cultural fields of other countries in the world but also further promotes the response to the policy of "One Road One Road One Road" and "Building a Community with a Future for Humanity." In the field of culture and art in China, the cultural and artistic symbols of Chinese calligraphy are richly reflected in the design. The research method is mainly through a case study, visual analysis, etc., to reflect the value of cultural and artistic symbols contained in Chinese characters in packaging design. The analysis is mainly based on the current situation, problems, and innovative exploration of various elements of Chinese calligraphy and artistic symbols in the packaging of creative products. Because of the design and development of the artistic symbols of Chinese characters, the significance of the research results is not only as a unique cultural heritage of China but also expected to provide a reference for the world's cultural and artistic exchanges, innovative development, and integrated development.

素荃 孫在馨 &lt;李忠武公碧波津戰捷碑文&gt;의 조형 특징 연구

Sojeon Son Jaehyeong(素荃 孫在馨) is a representative calligrapher in the modern and contemporary Korean calligraphy field in the 20th century, as well as an educator, politician, collector, connoisseur, art administrator, etc. The contents of the &lt;Inscription of the Monument for Lee Chungmugong’s Victory at Byeokpajin Battle&gt; was composed on August 29, 1956, by Nosan Lee Eunsang in Hangeul mixed with classical Chinese characters, and Son Jaehyeong inscribed it with a brush. Son Jaehyeong's creativity in Hangeul calligraphy lies in applying the formativeness and calligraphic method of seal script, clerical script, regular script of the Tang Dynasty, and the school of learning from the stela of the Qing Dynasty to Hangeul calligraphy works. Son Jaehyeong searched for a creative way to apply the classical Chinese calligraphy style to the Hangeul calligraphy style, and his contribution to the history of modern and contemporary Korean calligraphy lies in that he opened up his world of calligraphy creation by breaking away from the level of imitating the old blindly. The character structure and disposition of the &lt;Inscription of the Monument for Lee Chungmugong’s Victory at Byeokpajin Battle&gt; are the best examples of this. It is a work that shows creativity that goes beyond conventional forms in the history of modern and contemporary Korean calligraphy. It also contains the beauty of Son Jaehyeong's unique modern formative sense, which he achieved through research on the traditional Hangeul calligraphy and obsession with the ancient methods of classical Chinese calligraphy. This beauty emerges concretely in terms of the formative features of taking the abnormality as the rightness(以奇爲正) and making the whole harmonious through the response of front and back strokes(救應圓融). The formative characteristics of taking the abnormality as the rightness developed into the aesthetics of seal script, clerical script, and regular script expressed in the character structure and disposition, and the features of making the whole harmonious through the response of before and after strokes transformed the formativeness and strokes of the ancient Hangeul calligraphic style into work with his individuality. In conclusion, I found that Son Jaehyeong's &lt;Inscription of the Monument for Lee Chungmugong’s Victory at Byeokpajin Battle&gt; contains the spirit of calligraphy aimed at creative fusion based on the aesthetic view of fusing various calligraphic styles.

An Aesthetics of Chinese Calligraphy

AbstractThis article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is, involving coordination between the mind and the hand. Third, appreciation of Chinese calligraphy is identified with the process of reconstructing the calligrapher's creation of the work, which is analogous to Richard Wollheim's identifying criticism as retrieval. The last section examines the concept of qi and discusses what kind of aesthetic considerations encourage us to make a connection between Chinese calligraphy and abstract art.

Chinese Calligraphy and Painting Electronic Creation Software based on Computer Aided Technology

Chinese Calligraphy and Painting Electronic Creation Software based on Computer Aided Technology

Translating Chinese Calligraphy Into Indonesian: A Philological Approach

This paper is entitled ”Translating Chinese calligraphy into Indonesian: A Philological Approach.” Furthermore, the researcher intends to: (1) present a translation of Chinese calligraphy script in Indonesian, (2) express the moral message contained in Chinese calligraphy script. This study used a philological approach, which consisted of manuscript research methods and text editing, utilizing Lucien Goldman’s theory of philological explanation. Based on the Chinese calligraphy script found in Tjong A Fie’s mansion, the researchers made pragmatic structural observations and presented them from descriptive, analytical and comparative stages. The results of this study are the reconstruction of calligraphy characters as the content of the text that is abstract and essential; to be precise the Chinese calligraphy characters are found at the front gate, main entrance, front door and back right-wing of Tjong A Fie’s mansion. In this pragmatic observation of the Chinese calligraphy script, Chinese social and cultural values are obtained, such as the belief system, philosophy, and the relationship between humans and nature. These values are applied by the Chinese community as a guideline hence they can live in peace, harmony and balance.&#x0D; Keywords: Chinese Calligraphy; philological approach; Chinese community

A Review of the History of Ancient China

Handwritten prescriptions are based on the thorough understanding of diseases and accurate diagnosis of patients by ancient Chinese physicians. This article discusses the particularities of TCM handwritten prescriptions in different historical periods in China, which are crucial to the study of contemporary medicine and calligraphy and the treatment of TCM diseases with their unique writing styles. We aim at study and summarize the evolution of ancient Chinese manuscripts from a historical perspective. As the only way to record the experience of disease diagnosis and treatment, in-depth research on handwritten prescriptions can open up new fields of scientific research in traditional Chinese medicine, promote the wide application and dissemination of ancient Chinese calligraphy works around the world, and provide more opportunities for future generations of medical references. This paper mainly adopts the survey method, literature review method, data analysis method, comparative analysis method and inductive summary method to conduct research, and strive to make the research convincing. Traditional Chinese medicine formulas are the empirical data of generations of doctors in meticulous diagnosis, investigation, prescription, dialectical treatment, and are a precious medical case. TCM has a long history in China, and it is an important foundation for TCM to treat diseases because of its good medicinal calligraphy styles. In-depth research has the potential to open up new areas of scientific research in Chinese medicine and encourage the widespread adaptation and dissemination of ancient Chinese calligraphy works worldwide. Its widespread use increases the number of references available for future medicine.

A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)

This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods supplemented with archival sources and enabled characterising the investigated paint mixtures and revealing details of the artist’s painting technique. The study has proved the artist’s ability to produce a variety of hues by utilising a conventional palette of colours. The predilection for ultramarine, viridian, yellow and red iron-rich earth pigments, umber, yellow chromate pigments, as well as lead white, zinc white or Zn-base compounds like lithopone and barium white was recorded. The study emphasises a minor use of Prussian blue, emerald green, cadmium yellow or its variant and bone black. Although it remains unknown what brands of paints Liu Kang used, the available archival sources give insights into the painting materials available in Shanghai that the artist could have had at his disposal during the period under review. The archival information is based on the Chinese and overseas colourmen advertisements printed in Chinese journals and the respective contemporary colourmen catalogues. The artist’s painting technique departs from the experimental approach of his Paris phase. In Shanghai, he focused on synthesising the painting principles of the School of Paris with traditional Chinese calligraphy. The outcomes of this research may support future technical studies of works by other artists contemporary to Liu Kang and who were active in pre-war Shanghai.