Traditional Chinese Calligraphy Research Articles

The Art of Chinese Calligraphy: Educational Protection and Literacy Study of Cultural Heritage

Chinese traditional calligraphy is an important part of Chinese culture, with rich cultural value, historical value, artistic value and educational value. Traditional calligraphy art has shown new characteristics in the current era. This research objectives are: 1) to study the historical development and cultural value of Chinese calligraphy; 2) to analyze the current situation and issues of Chinese calligraphy; 3) to identify the way in which inheritance and literacy of Chinese calligraphy art can be protected. This research adopts qualitative methods, collecting field data through literature document, surveys, interviews, observations, and group discussions. Our results summarize the multiple eras through which the historical development of Chinese calligraphy took place. Our study focused on the content and artistic styles of Chinese calligraphy, categorizing its development into four periods; namely (i) Primitive Society to 2070 BC, which is characterized by pictographic writing and primitive symbols. (ii) 2070 BC to 221 BC, the period of formation of written characters and invention of the writing brush and ink, (iii) 221 BC to 589 AD, characterized by the standardization of Xiaozhuan and the invention of papermaking, and (iv) 589 AD to 1905 AD characterized by development and refinement of the five script styles influenced by the imperial examination system. Our results also depict the current situation and problems of Chinese calligraphy and the problems it faces. Finally, the results also show the multiple ways in which Chinese calligraphy could be preserved. As an excellent cultural heritage, traditional Chinese calligraphy art will shine with new light in modern society.

Cost-effective, highly efficient, and stable evaporator constructed of Chinese ink impregnation superhydrophobic Xuan paper for solar-driven interfacial organic solvent purification

The lack of cost-effective, highly efficient, and stable photothermal conversion materials in organic solvents greatly hinders the development of solar-driven interfacial evaporation for organic solvent purification. Herein, inspired by the traditional Chinese calligraphy culture, black ink impregnated superhydrophobic Xuan paper membrane (XPBI) is fabricated via a pressing-impregnation method for solar-driven interfacial organic solvent purification. The high photothermal conversion efficiency and long-term stability of XPBI are attributed to the inherent stability, superhydrophobic surface, and abundant channels of Xuan paper, as well as strong adhesion with carbon black particles. As a result, XPBI exhibited a high light absorption of 94.96 % within a broadband wavelength. The evaporation rates of DMF and NMP for XPBI under one sun were 3.63 and 1.44 kg·m−2·h−1, 49 and 127 times higher than that of natural evaporation. After natural sunlight irradiation for 8 h, XPBI evaporated 37.58 and 9.63 kg·m−2 IPA and DMF with organic dye rejection rates of 99.7 %. Furthermore, the simulation and optimization of cotton bud arrangement for organic solvent transport is proven to inhibit the membrane pollution of dye molecules for XPBI. This work demonstrates a low-cost, highly efficient, and stable photothermal membrane evaporator as an energy-saving and low-carbon technical prototype for organic solvent purification.

Calligraphy and painting scraps of old and new Asian papers, their simulation, performance, sources, and characteristics

This article explores the importance of paper in traditional Chinese calligraphy and painting and investigates the performance differences between a new paper and an old paper. The characteristics of paper, such as texture, absorbency, color, and durability, significantly impact the artwork’s quality and expression. The development of new papers has been driven by the desire to improve characteristics and meet the evolving needs of artists. This research compares a new paper, made using alternative materials and technology, with an old paper, combining a simulation sample and authentic calligraphy and painting scraps. The evaluation considers parameters such as ink absorption, texture, color vibrancy, bleed-through, smudging, and durability. The new paper demonstrated superior ink absorption, a smooth texture suitable for detailed work, enhanced color vibrancy, minimal bleed-through and smudging, and improved durability. The old paper, while offering a unique rough texture, had slower ink drying times, slightly lower color vibrancy, and less durability. Artists seeking precision and vibrant colors may prefer the new paper, while those desiring a textured and traditional aesthetic may favor the old paper. The findings contribute to understanding the performance characteristics of different papers, aiding artists, collectors, and researchers in their selection and appreciation of paper in calligraphy and painting. Several challenges, such as the omission of specific paper types or brands, a limited sample size, and the oversight of long-term paper durability, warrant further exploration. In the context of modern tools, the article underscores the potential role of artificial intelligence (AI) in supporting artists, collectors, and researchers in the selection and appreciation of paper in calligraphy and painting. Integration of AI for tasks such as data analysis, pattern recognition, and recommendation systems could offer valuable insights, fostering objectivity and efficiency in the study and aiding in the exploration of a wider range of paper characteristics.

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.

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.

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.

Reproducing ancient Chinese ink depending on gelatin/chitosan and modern experimental methodology

Chinese ink has very special significance for presentation of artistic effects and preservation of works of art; however, wasted nonrenewable resources, potential toxicity, and complex and inefficient production technologies have limited the development of inks for traditional Chinese culture. Herein, environmentally friendly, practical and antibacterial Chinese ink was prepared by facile heating-stirring of gelatin and the natural polysaccharide chitosan. The internal composition, viscosity, morphology, particle size and antibacterial properties of the ink were characterized by Fourier transform-infrared spectroscopy, X-ray photoelectron spectroscopy, scanning electron microscopy and bacteriostatic zone tests. The results showed that commercial ink (CM) spread easily on Xuan paper and led to imperfect artwork, while the chitosan and gelatin ink (CG) showed good adhesion and stability on Xuan paper. Based on this study, we believe that the good performance of CG ink should be attributed to restrictions arising from its internal chitosan and gelatin network, which restrict diffusion. Finally, the author used CG ink to display traditional Chinese calligraphy and landscape painting and believes that it has significant application prospects and will be used in large-scale production.

Evaluating volatile organic compounds from Chinese traditional handmade paper by SPME-GC/MS

Once printed, books are always accompanied by the smells of volatile organic compounds (VOCs) which are continuously emitted not only by inks but also by papers themselves throughout their lives. Although the VOCs from papers may bring mild discomfort to readers, they are considered as very important factors that feature the degradation of papers and show potential applications in cultural relic appraisal. In this study, an analytical approach based on solid phase microextraction combined with gas chromatography-mass spectrometry (SPME-GC/MS) was proposed for the evaluation of volatile organic compounds (VOCs) emitted by Chinese traditional handmade papers. The VOCs evaluations and artificial aging processes were both applied to recent-made papers and naturally aged papers from a traditional Chinese calligraphy and painting scroll (collected by the National Museum of China). To be noticed, a large number of aliphatic acids, aldehydes, ketones, furan derivatives, benzene series and terpenoid substances indicated that the VOCs signals not only reveal the degradation of paper but also tentatively reflect the storage environment along hundreds of years ago. The semi-quantitative evaluation of markers indicated that the historical paper is under a serious degradation due to the high capacity it releases. Our results provided a path way to get the degradation information of ancient paintings as well as potential realistic applications such as the conservation of paper-based relics and the environmental protection in libraries and museums.

A Self-Powered Angle Sensor at Nanoradian-Resolution for Robotic Arms and Personalized Medicare.

As the dominant component for precise motion measurement, angle sensors play a vital role in robotics, machine control, and personalized rehabilitation. Various forms of angle sensors have been developed and optimized over the past decades, but none of them would function without an electric power. Here, a highly sensitive triboelectric self-powered angle sensor (SPAS) exhibiting the highest resolution (2.03 nano-radian) after a comprehensive optimization is reported. In addition, the SPAS holds merits of light weight and thin thickness, which enables its extensive integrated applications with minimized energy consumption: a palletizing robotic arm equipped with the SPAS can precisely reproduce traditional Chinese calligraphy via angular data it collects. In addition, the SPAS can be assembled in a medicare brace to record the flexion/extension of joints, which may benefit personalized orthopedic recuperation. The SPAS paves a new approach for applications in the emerging fields of robotics, sensing, personalized medicare, and artificial intelligence.

The Importance of Traditional Chinese Calligraphy in Modern Society

The Importance of Traditional Chinese Calligraphy in Modern Society

Scientific analysis of tie luo, a Qing Dynasty calligraphy artifact in the Palace Museum, Beijing, China

Tie luo (affixed hanging) was an expressive form of traditional Chinese calligraphy or paintings, and popular in the imperial palaces for interior decorations in Qing Dynasty (1644–1911 C.E.). A piece of calligraphic tie luo, written by an eminent calligrapher Gu Gao (1763–1832 C.E.), was restored recently in the Palace Museum, Beijing, China. The paper with pigment coating specially made for this calligraphic piece was named as fenjian. This article presented results from materials identification prior to the restoration. Multianalysis with scientific approaches revealed how tie luo was manufactured. It could be concluded that the investigated tie luo used a paper made from bast fibers of mulberry trees. And the decorative ground layer for the piece was also studied, which indicated that a type of organic red pigments were used for the masterpiece. White lead was considered as the main pigment, mixed with a red dye extracted from sappanwood. Meanwhile, animal glue, drying oils and beeswax were confirmed as the organic binding media. In dye analysis, protosappanin B and brazilin as well as brazilein were identified, which implied that sappanwood was used for the organic manufacture of pigments. In addition, both Nowik type A and C were found in the research, which were characteristic of sappanwood for identification.

Flexible and Foldable Li-O2 Battery Based on Paper-Ink Cathode.

A flexible freestanding air cathode inspired by traditional Chinese calligraphy art is built. When this novel electrode is employed as both a new concept cathode and current collector, to replace conventional rigid and bulky counterparts, a highly flexible and foldable Li-O2 battery with excellent mechanical strength and superior electrochemical performance is obtained.

Three-dimensional reconstruction of traditional Chinese calligraphy arts for realistic perception

Three-dimensional reconstruction of traditional Chinese calligraphy arts for realistic perception

Research on Brocade - Silk Material for Mounting Traditional Chinese Calligraphy and Painting

Aiming at the typical fabric style and pattern features of silk material for mounting traditional Chinese calligraphy and painting, this paper starts from brocades mainly used in mounting traditional Chinese calligraphy and painting, as well as analyzes the features, varieties and pattern types of brocade (material used for mounting). Through the research, the author discovers that two types of brocades are used more frequently in mounting, namely brocade of middle-sized pattern and brocade of small-sized pattern, while pattern types mainly include geometric motifs, plant motifs and fauna motifs, as well as treasures and characters.

A note on Chinese Bamboo paper: The impact of modern manufacturing processes on its photostability

Abstract Papermaking has a special place in the cultural heritage of China. Papers made from different types of plant fibers were, and are still used for particular applications. Bamboo paper is a handmade paper that has been traditionally used for book printing and restoration of ancient paper objects since antiquity in China, whereas Xuan paper, the subject of recent previous study, is used for traditional Chinese calligraphy and painting. Following our previous approach on Xuan paper, four modern Bamboo papers manufactured using traditional or chemically-facilitated techniques were artificially aged by UVA radiation and changes to their optical properties were evaluated by reflectance and 3D-fluorescence spectroscopies. Paper samples produced by different methods displayed different fluorescence spectra and UVA photolysis of paper resulted in decreases in the fluorescence intensities and reflectance values, manifested as differing photoyellowing of the papers. Assays of reactive oxygen species, ROS, revealed that papers made by chemically-assisted pulping methods generally produce more hydrogen peroxide or superoxide radicals than those made by traditional methods, which correlates with their relative yellowing rates. Different spatial distributions of calcium and chlorine were also observed by SEM/EDS analysis in the chemically-manufactured papers, probably arising from the specific pulping and/or bleaching chemicals used in their manufacture.

Toward a Global Beauty

Toward a Global Beauty

Bézier brushstrokes

Traditional Chinese calligraphy and painting rely heavily on the artist's skill in executing brushstrokes. While CAD systems have been able to help the user in a variety of graphics design activities ranging from architectural and engineering drawings to very realistic 3D renderings, the infinite variations of the brushstroke still present a challenging modelling problem. The author shows some possibilities in modelling brushstrokes using Bézier techniques. Cubic Bézier functions are used to model the following attributes of brushstrokes: variation of shape or outline of a brushstroke; shade or colour variation along and across the brushstroke; some effects due to the variation of moisture content of the brush as well as paper characteristics. Idealized brushstrokes can be produced by supplying a few parameters (primarily, Bézier control points). A program processes these parameters and outputs a PostScript program which is then executed by a PostScript equipped printer.