Korean calligraphy went through tremendous changes during the twentieth century, and Jung Hyun-bok (1909-1973), a gifted calligrapher, played an important role in bringing about these changes. This thesis focuses on one of Jung's most mature and refined works, "Using the Peak of the Five Elders as a Brush," owned by the Jordan Schnitzer Museum of Art. In addition to translating and explicating the poems on the screen, through a close examination of both the form and content of the work I explore how it reflects Jung's values, intentions, and background. This thesis also addresses the question of why some critics have classified Jung as a professional artist and considers some of the ways in which he actually cultivated and projected an image of himself as a traditional literatus.

Orientador: Anna Paula Silva Gouveia / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T23:28:32Z (GMT). No. of bitstreams: 1 Miyashiro_RafaelTadashi_D.pdf: 2931738 bytes, checksum: e3600bb7be202d7c6d4a8301da385c5f (MD5) Previous issue date: 2015 / Resumo: Esta é uma pesquisa sobre os gestos na escrita no design gráfico. Esses gestos se manifestam na forma de caligrafia, letreiramento e design de tipos. A pesquisa, de natureza qualitativa, se inspira tanto na fenomenologia quanto na complexidade, na sua forma de abordar o corpo, e portanto o gesto. O gesto é visto como um intervalo de espaço-tempo, cujas fronteiras são a intenção e a intenção materializada, aonde o corpo é protagonista. Assim, a pesquisa buscou cobrir elementos que estão envolvidos nesse intervalo: a escrita, a imaginação, o aprendizado (que inclui tanto uma parte teórica quanto uma prática, com a elaboração de workshops e uma disciplina de graduação) e o gesto como consequência do ser no mundo. Nas considerações finais retoma-se o que foi discutido ao longo da tese, reforçando que os gestos podem ser vistos como algo mais que o movimento físico do corpo. Nesse sentido, considera-se a importância da compreensão do corpo, e sua relação com o mundo, para que os gestos da escrita sejam desenvolvidos em seu potencial pleno / Abstract: This is a research about gestures of writing in graphic design. These gestures present themselves as calligraphy, lettering and type design. The body ¿ and the gesture ¿ approach is inspired by phenomenology and complexity theory. Gesture is seen as a space-time interval, and the body is its protagonist. Therefore, this research involves the elements of this interval: writing, imagination, knowledge (through theory and the practice experience based on workshops and undergraduate course) and gesture as expression of the being in the world. At the conclusion, all these elements are resumed, reinforcing that gestures may be seen as something more than its physical expression and it is important to understand and recognize the body as a whole, and its relationship to the world, so gestures of writing can be developed in its full potencial / Doutorado / Artes Visuais / Doutor em Artes Visuais

In this thesis, I explored the visual and textual connotations of the handscroll painting Poetic Feeling in a Thatched Pavilion attributed to the Chinese Yuan dynasty artist Wu Zhen, and discussed this piece of work in terms of its relation to the long history of Chinese literati painting.

The cultural accomplishments of the Northern Song dynasty are unrivalled in Chinese history. Song literati were particularly enthusiastic about calligraphy and writing materials, and the scale of their engagement in the art of writing exceeded that of both former and later dynasties, leaving plentiful legacies of calligraphic culture for later generations to study and appreciate. However, most modern studies emphasize the transmission of calligraphic culture from the Tang to Song and neglect the dynamics of disconnection and transformation between these two dynasties. By demonstrating how the technologies of brush, paper, ink cake, ink stone, and chair and desk (the "materiality" of calligraphy) shaped the look of calligraphy, this dissertation proposes an alternative understanding of the nature of Song innovations in the art of writing. Insofar as these innovations reconfigured the subsequent history of Sinitic calligraphy (calligraphic traditions based on Chinese characters), this dissertation argues that we cannot understand the art of writing without exploring the technology of writing. Through this study, I present the processes by which the literati of Northern Song traced, received, and modified the calligraphic culture of the past in creating their own Northern Song culture. Because of cultural discontinuity and transformation, what they ultimately reconstructed served as the foundation for their own culture, and has become the basis for how we think of the pre-Song past.

Fukuda Chiyo-ni and Kiyohara Yukinobu were 17th-18th century (Edo period) Japanese women artists well known during their lifetime but are relatively unknown today. This thesis establishes their contributions and recognition during their lifespans. Further, it examines the precedence for professional women artists’ recognition within Japanese art history. Then, it proceeds to explain the complexities of Meiji-era changes to art history and aesthetics heavily influenced by European and American (Western) traditions. Using aesthetic and art historical analysis of artworks, this thesis establishes a pattern of art canon formation that favored specific styles of art/artists while excluding others in ways sometimes inauthentic to Japanese values. Japan has certainly had periods of female suppression and this research illustrates how European models and traditions of art further shaped the perception of Japanese women artists and the dearth of female representation in galleries and art historical accounts.

What do we see when we look at writing? In addition to the verbal messages conveyed by the written words, visual dimensions of script are powerful tools that hold semantic value. This dissertation focuses on one such visual element—the arrangement of written words into geometric shapes or patterns in the context of medieval Islamicate societies (1100–1250 AD)—to uncover its meanings. The dissertation offers a primary case study of the Kitāb al-diryāq (Book of Antidotes, 595 AH/1199 AD, BnF arabe 2964), an illuminated and illustrated manuscript with a variety of geometric patterns created using Arabic script. By examining a broad range of materials (scientific manuscripts, magical objects, and architectural decoration) across Late Antiquity and the medieval period, this heuristic study argues that the arrangement of script in geometric patterns was a vital medium of visualizing knowledge and transmitting knowledge—the form not only carrying cultural meanings but also shaping the reception of verbal messages. Magic is one form of knowledge that is particularly fruitful for examining the function of the geometric script patterns in general, and of the Kitāb al-diryāq in particular. This study traces the contexts in which the geometric script patterns appear, the cultural practices associated with them, and the medieval worldviews in which the patterns circulated. In considering these factors, the study argues that the combination of shape and script is embedded with knowledge that reflects the medieval scientific, magical, and popular imagination. / Graduate / 2023-06-23

書の歴史において、その正統性の頂点に位置付けられるのは東晋の王羲之(303？〜361？)である。彼の書は現存しないとされ、後世の人々は、拓本などの複製を通して王羲之の書を学んできた。本稿の目的は、各時代の人々が思い描く王羲之の書、すなわち書聖・王羲之の像(イメージ)がどのようなものかを、造形分析を通して明らかにし、その変遷を考察することである。 / In the history of the calligraphy, Wang Xizhi (王羲之303？〜361？) is placed as the top of the orthodoxy. It is said that his calligraphy works does not exist. Therefore, the people of coming ages learned a calligraphy through the reproductions such as rubbed copies. The purpose of this study clarifies what the image of the calligraphy work is through molding analysis and is to examine the change. / 博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University

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Sacred spaces have long existed due to their importance as a symbol of belief. Structures are designed to be timeless and forever lasting, representing the essence of faith. In this case, a Mosque has been designed for a site in La Jolla, California, keeping the sacred practices of the religion in mind during design composition. This includes the importance of connectivity for every man and woman, to God. The segregated praying areas for men and women are essential aspects of the design; from entering the site, the common area or courtyard at the center, to the separate walkways for each gender, symbolize the importance of gender segregation and yet a common ground for unity and equality at the holy site. A walk through the corridor leads to the washing area for self cleansing and ritual ablution in preparation for entering the sacred space for prayers, the entrance to a space for a spiritual connection with God. / Master of Architecture

In this self-study inquiry, I studied my graphic design practice in a professional setting, focusing on my Arabic typographic skills and knowledge. My roles as researcher and design educator indivisibly intertwined throughout this research. I worked to understand the value of calligraphy in art and design education, highlighting its power as an art form while also emphasizing its pedagogical potentials. I utilized two theoretical approaches suited to investigating and understanding the Arabic letters as text and image, Ibn Arabi’s science of letters, or 'ilm al-hurûf, and semiotics. I applied my theoretical framework to three distinctive artworks to investigate their uses of the Arabic letters, contemplating their roles in modern and contemporary Arab art. Essential to my research was learning Arabic calligraphy through two approaches: 1) I attended a calligraphy workshop, and 2) I conducted three self-study experimentations. I analyzed my experience through visual representations, commentary, and narrative inquiry to assess Arabic calligraphy’s significance for graphic design education. As such, my experimentations confirmed Arabic calligraphy’s aesthetic and educational value. I employed my findings to create a contemporary Arabic typography curriculum suitable for university-level students. This curriculum is built on learning theories such as visual culture analysis, semiotics, constructivist theory, play principles, and critical thinking, aiming to situate Arabic calligraphy as a modern learning model significant for typography education. Finally, I constructed a basic course for Arabic typography to support students’ development of Arabic typography fluency.