INHERITANCE AND EVOLUTION: PHENOMENON OF THE DEVELOPMENT OF CALLIGRAPHY FORMS AND ARTISTIC CONCEPTS IN LIBIAN OF CHINESE CALLIGRAPHY

Authors

DOI:

https://doi.org/10.52152/heranca.v5i2.893

Keywords:

Chinese Calligraphy, Libian of Chinese Calligraphy, Calligraphy Form, Art Inheritance

Abstract

The Libian of Chinese calligraphy is the result of social development and has important research value in the development process of Chinese calligraphy. Among them, aesthetics and practicality are the fundamental reasons for the Libian of Chinese calligraphy. Therefore, the simplification of character structure and the simplicity of writing methods constitute the core content of the Libian process of Chinese calligraphy. The Libian of Chinese calligraphy has led to the gradual elimination of the pictographic meaning of ancient script lines in Chinese calligraphy fonts. The body features have changed from vertical to horizontal, and the lines have evolved from circular to straight and square folds, forming symbolic strokes and giving rise to modern characters with independent meanings. This article aims to elaborate on the basic process of the Libian of Chinese calligraphy, combined with its contemporary morphological characteristics and conceptual changes, to discuss the internal connection between the calligraphy form of Libian and the development of artistic concepts, and provide more research guidance and suggestions for the inheritance and evolution of Chinese calligraphy.

Downloads

Download data is not yet available.

References

Chai, Y., & Jiang, D. (2022, January). The aesthetics of Chinese characters in the period of Libian: Take “丝” (silk) characters for example. In 2021 International Conference on Public Art and Human Development (ICPAHD 2021) (pp. 538-543). Amsterdam, Netherlands: Atlantis Press.

Chen, Y. S., & Chao, M. T. (2018). Skeletonization application: Chinese calligraphy character representation and reconstruction. Journal of Electronic Imaging, 27(5), 051202.

Chen, Z. (2023). Chinese calligraphy: An ancient art in the modern era. In SHS Web of Conferences (Vol. 159). EDP Sciences. https://doi.org/10.1051/shsconf/202315902003

Deng, S. (2018). Chinese characters and the spirit of place in China. Technoetic Arts: A Journal of Speculative Research, 16(1), 99-111.

Hu, C. (2014). Calligraphy and culture cultivation. Higher Education of Social Science, 7(3), 19-22.

Ippolito, J. M. (2018). Chinese characters as concept and the International language of visual art. The International Journal of New Media, Technology and the Arts, 13(1), 7-13.

Lau, C. K. (2017). In search of identity: Chinese calligraphy in twentieth century Hong Kong. International Journal of Arts Theory & History, 12(1). https://doi.org/10.18848/2326-9952/cgp/v12i01/11-47

Li, Q., Huang, Z., & Zhang, J. (2014). Perceived value of the Chinese calligraphic landscape in tourism settings: From the perspective of Chinese tourists. Journal of China Tourism Research, 10(4), 414-431.

Li, R., Jia, X., Zhou, C., & Zhang, J. (2022). Reconfiguration of the brain during aesthetic experience on Chinese calligraphy—Using brain complex networks. Visual Informatics, 6(1), 35-46.

Liu, G., Hao, C., Yan, J., Dong, J., Zhao, Z., & Hao, L. (2022). Stroke extraction algorithm of clerical script in Han dynasty based on contour: Take “Stele of Cao Quan” as an example. Mobile Information Systems, 2022. https://doi.org/10.1155/2022/5066994

Mcnair, A., & Yan, W. (2020). Eulogy for Burying a Crane and the Art of Chinese Calligraphy by Lei Xue (review). China Review International, 25, 296-299.

Mo, Z. (2021). Ancient Chinese poetry and Chinese calligraphy in combatting COVID-19. English Studies in Africa, 64(1-2), 84-97.

Oprica, M. (2023). Modernity and the water calligraphy experience. Chinese Language Teaching Methodology and Technology, 6(1), 46.

Pang, B., & Wu, J. (2020, August). Chinese calligraphy character image recognition and its applications in Web and Wechat applet platform. In Proceedings of the ACM/IEEE Joint Conference on Digital Libraries in 2020 (pp. 253-260). https://doi.org/10.1145/3383583.3398516

Peng, L., & Geng, Y. (2013). Cultural semiosis in artistic Chinese calligraphy. Cultura, 10(2), 127-140.

Peng, W., & Ke, Z. (2022). Analysis of the philosophical thought of “Yin” and “Yang” in the art of Chinese calligraphy. Journal of Sociology and Ethnology, 4(9), 58-61.

Tian, X. (2019). Research on the influence of Chinese traditional philosophy on the artistic conception of contemporary meticulous flower and bird painting. In 2019 7th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2019) (pp.188-191). https://doi.org/10.23977/ieesasm.2019.036

Turgut, Ö. P. (2014). Calligraphic forms in contemporary typographic design. Procedia-Social and Behavioral Sciences, 122, 40-45.

Uralovna, B. Z. (2022). Literary-theoretical description of the concept of art movement. South Asian Journal of Marketing & Management Research, 12(1and2), 32-39.

Wang, H. (2022). Conceptual expression in modern artistic creation—The relationship and law between artistic conception and thinking. Frontiers in Art Research, 4(13), 98-103.

Wang, L., Gong, X., Zhang, Y., Xu, P., Chen, X., Fang, D., . . . Guo, J. (2018). Artistic features extraction from Chinese calligraphy works via regional guided filter with reference image. Multimedia Tools and Applications, 77, 2973-2990.

Wang, W., & Huang, J. (2023). Research on the cultural inheritance and aesthetic value of Chinese calligraphy and painting. In Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023) (pp.215-219). Retrieved from http://journals.isccac.org/d/file/lunwen/2023-11-30/0b047ee5c5b7dea9fd367fc0b3e7e690.pdf

Wang, Y., & Zhang, X. (2023, May). Calligraphy image processing with stroke extraction and representation. In International Conference on Computer Graphics, Artificial Intelligence, and Data Processing (ICCAID 2022) (Vol. 12604, pp. 226-232). Bellingham, WA: SPIE.

Xu, Y., & Shen, R. (2023). Aesthetic evaluation of Chinese calligraphy: A cross-cultural comparative study. Current Psychology, 42(27), 23096-23109.

Yan, B. (2022). A probe into the formation process of “Bozhe” of the Han official script. Art and Design, 5(7). https://doi.org/10.31058/J.AD.2022.57004

Yang, L., Wu, Z., Xu, T., Du, J., & Wu, E. (2023). Easy recognition of artistic Chinese calligraphic characters. The Visual Computer, 39(8), 3755-3766.

Yang, S. (2022). A study on Chen Hongshou’s calligraphy style in Qian and Jia dynasties. Journal of Social Science and Humanities, 4(12). https://doi.org/10.53469/JSSH.2022.4(12).07

Yu, Z. J. (2017, October). Chinese calligraphy: A complementary therapeutic role. Journal of the American Academy of Child Adolescent Psychiatry, 56(10). https://doi.org/10.1016/j.jaac.2017.07.338

Yue, X., Zhang, L., & Schinke, R. J. (2023). The impact of Chinese calligraphy practice on athletes’ self-control. International Journal of Sport and Exercise Psychology, 1-21.

Zhang, K. (2021, August). Clean or dilapidated style: The controversy between aesthetic standards of seal engraving since the Ming and Qing dynasties. In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021) (pp. 315-321). Amsterdam, Netherlands: Atlantis Press.

Zhang, Z., & Ghazali, M. M. B. M. (2023). The value of Chinese calligraphy artistic symbols in the packaging design of creative products. Scientific and Social Research, 5(5), 22-30.

Zhang-Cziráková, D. (2014). Writing without words: influence of the Chinese calligraphy on the contemporary ink painting in the Mainland China. Journal of Sino-Western Communications, 6(1), 102-116.

Downloads

Published

2024-07-25

How to Cite

Zhang, Y., & Xu, Z. (2024). INHERITANCE AND EVOLUTION: PHENOMENON OF THE DEVELOPMENT OF CALLIGRAPHY FORMS AND ARTISTIC CONCEPTS IN LIBIAN OF CHINESE CALLIGRAPHY. Herança, 5(2), 237–255. https://doi.org/10.52152/heranca.v5i2.893