李晉鏗. / Thesis (M.A.)--香港中文大學敎育學院. / Includes bibliographical references (leaves 197-214). / Li Jinkeng. / Thesis (M.A.)--Xianggang zhong wen da xue jiao yu xue yuan. / 論文提要 --- p.i / 誌謝 --- p.ii / Chapter 第一章 --- 引論 / Chapter 一、 --- 書法敎育的涵義 --- p.1 / Chapter 二、 --- 書法在中國傳統敎育中的地位 --- p.3 / Chapter 三、 --- 書法的敎育價值與功能 --- p.4 / Chapter 四、 --- 本論文之硏究目的 --- p.7 / Chapter 第二章 --- 文獻評述 / Chapter 一、 --- 傳統書法敎育理論文獻 --- p.14 / Chapter 二、 --- 現代書法敎育硏究論文 --- p.19 / Chapter 甲、 --- 實驗法的硏究 --- p.19 / Chapter 乙、 --- 書法與心理的硏究 --- p.20 / Chapter 丙、 --- 書法敎育的專題討論 --- p.21 / Chapter 三、 --- 香港小學書法課程與研究 --- p.22 / Chapter 四、 --- 香港中學書法課程與硏究 --- p.23 / Chapter 五、 --- 香港敎育署所定之書法課程及有關硏究 --- p.24 / Chapter 第三章 --- 硏究方法 / Chapter 一、 --- 硏究資料的蒐集 --- p.29 / Chapter 二、 --- 硏究方法 --- p.31 / Chapter 三、 --- 硏究範圍與限制 --- p.32 / Chapter 第四章 --- 書法敎育與中國文化 / Chapter 一、 --- 書法與文字 --- p.35 / Chapter 二、 --- 書法與文學 --- p.41 / Chapter 甲、 --- 詩 --- p.41 / Chapter 乙、 --- 散文 --- p.46 / Chapter 丙、 --- 楚辭 --- p.46 / Chapter 丁、 --- 賦 --- p.47 / Chapter 戍、 --- 書信尺牘 --- p.48 / Chapter 己、 --- 碑誌 --- p.50 / Chapter 三、 --- 書法與藝術 --- p.55 / Chapter 四、 --- 書法與德育 --- p.58 / Chapter 五、 --- 書法在社會與日常生活上的應用 --- p.60 / Chapter 六、 --- 書法與文化的傳播 --- p.62 / Chapter 第五章 --- 中國書法敎育的發展 / Chapter 一、 --- 古代的書法敎育 --- p.72 / Chapter 二、 --- 秦漢時期的書法敎育 --- p.73 / Chapter 甲、 --- 秦代的書法敎育 --- p.73 / Chapter 乙、 --- 漢代的書法敎育 --- p.74 / Chapter (一) --- 概論 --- p.74 / Chapter (二) --- 漢代小學的書法敎育 --- p.76 / Chapter (三) --- 漢代小學的字書 --- p.77 / Chapter (1) --- 四字爲句的字書 --- p.77 / Chapter (2) --- 七字爲句的字書 --- p.78 / Chapter (四) --- 漢代書法藝術專科學校´一ؤ鴻都門學 --- p.78 / Chapter (五) --- 漢代石經的刊´刻´ؤؤ熹平石經 --- p.79 / Chapter 三、 --- 魏晋南北朝的書法敎育 --- p.80 / Chapter 甲、 --- 三國的書法敎育 --- p.80 / Chapter (一) --- 概論 --- p.80 / Chapter (二) --- 三國的學校 --- p.81 / Chapter (三) --- 三國的書法 --- p.81 / Chapter (四) --- 魏正始石經與書法敎育 --- p.82 / Chapter (五) --- 社會風氣與當法敎育 --- p.82 / Chapter 乙、 --- 晋代的書法敎育 --- p.83 / Chapter (一) --- 概論 --- p.83 / Chapter (二) --- 晋武帝設置書博士的職位 --- p.83 / Chapter (三) --- 道敎與書法敎育 --- p.84 / Chapter (四) --- 社會風氣與書法敎育 --- p.85 / Chapter (五) --- 家學、私人傳授與書法敎育 --- p.88 / Chapter (六) --- 王羲之與書法敎育 --- p.89 / Chapter 丙、 --- 南北朝的書法敎育 --- p.91 / Chapter (一) --- 概論 --- p.91 / Chapter (二) --- 書學見於正史 --- p.92 / Chapter (三) --- 社會風氣與書法敎育 --- p.92 / Chapter (四) --- 書法取士 --- p.94 / Chapter (五) --- 品評書法藝術的專著 --- p.95 / Chapter (六) --- 佛敎與書法敎育 --- p.96 / Chapter (七) --- 千字文與書法敎育 --- p.96 / Chapter 四、 --- 隋唐的書法敎育 --- p.98 / Chapter 甲、 --- 隋代的書法敎育 --- p.98 / Chapter (一) --- 書法敎育被立爲官學 --- p.98 / Chapter (二) --- 書風與師承 --- p.98 / Chapter 乙、 --- 唐代的書法敎育 --- p.99 / Chapter (一) --- 概論 --- p.99 / Chapter (二) --- 唐代學校的書法敎育 --- p.100 / Chapter (三) --- 唐代科舉與書法敎育 --- p.101 / Chapter (四) --- 唐代書法敎育發達的原因 --- p.104 / Chapter (五) --- 有關書法敎育的書學論著 --- p.107 / Chapter 五、 --- 五代、宋的書法敎育 --- p.109 / Chapter 甲、 --- 五代的書法敎育 --- p.109 / Chapter 已、 --- 宋代的書法敎育 --- p.110 / Chapter (一) --- 概論 --- p.110 / Chapter (二) --- 宋代科舉與書法敎育 --- p.113 / Chapter (三) --- 宋代小學的書法敎育 --- p.114 / Chapter (四) --- 有關書法敎育的書學論著 --- p.115 / Chapter 六、 --- 元、明的書法敎育 --- p.116 / Chapter 甲、 --- 元代的書法敎育 --- p.116 / Chapter (一) --- 概論 --- p.116 / Chapter (二) --- 元代的書風 --- p.116 / Chapter (三) --- 元代科舉與書法敎育 --- p.117 / Chapter (四) --- 元代理學家程端禮的書法敎學 --- p.118 / Chapter 乙、 --- 明代的書法敎育 --- p.119 / Chapter (一) --- 概論 --- p.119 / Chapter (二) --- 明代學校的書法敎育 --- p.119 / Chapter (三) --- 明代科舉與書法敎育 --- p.120 / Chapter (四) --- 明代的書風 --- p.121 / Chapter 七、 --- 清代的書法敎育 --- p.122 / Chapter (一) --- 概論. --- p.122 / Chapter (二) --- 清代國學的書法敎育 --- p.123 / Chapter (三) --- 清代學塾的書法敎育 --- p.123 / Chapter (四) --- 書法敎育在清末新敎育中的地位 --- p.125 / Chapter (1) --- 壬寅學制中的書法敎育 --- p.125 / Chapter (2) --- 癸卯學制中的書法敎育 --- p.126 / Chapter (五) --- 清代科舉與書法敎育 --- p.127 / Chapter (六) --- 清代的書風 --- p.128 / Chapter 八、 --- 辛亥革命以來的書法敎育 --- p.130 / Chapter (一) --- 概論 --- p.130 / Chapter (二) --- 191´1ؤ1949中國小學的書法敎育 --- p.130 / Chapter (三) --- 191´1ؤ1949中國中學的書法敎育 --- p.131 / Chapter (四) --- 台灣國民小學的書法敎育 --- p.132 / Chapter (五) --- .台灣國民中學的書法敎育 --- p.133 / Chapter (六) --- 台灣高級中學的書法敎育 --- p.134 / Chapter (七) --- 台灣書法敎育問題硏究與分析 --- p.135 / Chapter (八) --- 大陸的書法敎育 --- p.137 / Chapter (九) --- 大陸小學書法敎育近況 --- p.138 / Chapter (十) --- 大陸中學書法敎育近況 --- p.140 / Chapter (十一) --- 書法師資的培訓 --- p.141 / Chapter (十二) --- 社會風氣與書法敎育 --- p.142 / Chapter 第六章 --- 香港的書法敎育 / Chapter 一、 --- 香港與中國的文化關係 --- p.157 / Chapter 二、 --- 香港早期學校的書法敎育 --- p.158 / Chapter 三、 --- 二十世紀前半期香港的書法敎育 --- p.159 / Chapter 甲、 --- 二十世紀前半期中文學塾的書法敎育 --- p.159 / Chapter 乙、 --- 二十世紀前半期香港中學的書法敎育 --- p.160 / Chapter 丙、 --- 二十世紀前半期香港小學的書法敎育 --- p.161 / Chapter 丁、 --- 小結 --- p.162 / Chapter 四、 --- 戰後迄今的香港書法敎育 --- p.162 / Chapter 甲、 --- 小學的書法敎育 --- p.162 / Chapter 已、 --- 中學的書法敎育 --- p.165 / Chapter 丙、 --- 專上學院的書法敎育 --- p.166 / Chapter 丁、 --- 私辦書藝學院、書學組織對書法敎育的貢獻 --- p.167 / Chapter 第七章 --- 香港書法敎育問題硏究與分析 / Chapter 一、 --- 小學書法敎育問題硏究與分析 --- p.174 / Chapter 二、 --- 中學書法敎育問題硏究與分析 --- p.177 / Chapter 三、 --- 專上學院的書法敫育問題硏究與分析 --- p.181 / Chapter 四、 --- 私辦書藝學院、書學組織在推動香港書法敎育上所扮演的角式與及所遇到之問題。 --- p.182 / Chapter 第八章 --- 結論與建議 / Chapter 一、 --- 結論 --- p.186 / Chapter 二、 --- 建議 --- p.193 / 參考書目 --- p.197

Kwok, Ka Wai. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 113-116). / Abstracts in English and Chinese. / ABSTRACT --- p.i / Chapter 1. --- INTRODUCTION --- p.1 / Chapter 1.1 --- Artistic robot in western art --- p.1 / Chapter 1.2 --- Chinese calligraphy robot --- p.2 / Chapter 1.3 --- Our robot drawing system --- p.3 / Chapter 1.4 --- Thesis outline --- p.3 / Chapter 2. --- ROBOT DRAWING SYSTEM --- p.5 / Chapter 2.1 --- Robot drawing manipulation --- p.5 / Chapter 2.2 --- Input modes --- p.6 / Chapter 2.3 --- Visual-feedback system --- p.8 / Chapter 2.4 --- Footprint study setup --- p.8 / Chapter 2.5 --- Chapter summary --- p.10 / Chapter 3. --- LINE STROKE EXTRACTION AND ORDER ASSIGNMENT --- p.11 / Chapter 3.1 --- Skeleton-based line trajectory generation --- p.12 / Chapter 3.2 --- Line stroke vectorization --- p.15 / Chapter 3.3 --- Skeleton tangential slope evaluation using MIC --- p.16 / Chapter 3.4 --- Skeleton-based vectorization using Bezier curve interpolation --- p.21 / Chapter 3.5 --- Line stroke extraction --- p.25 / Chapter 3.6 --- Line stroke order assignment --- p.30 / Chapter 3.7 --- Chapter summary --- p.33 / Chapter 4. --- PROJECTIVE RECTIFICATION AND VISION-BASED CORRECTION --- p.34 / Chapter 4.1 --- Projective rectification --- p.34 / Chapter 4.2 --- Homography transformation by selected correspondences --- p.35 / Chapter 4.3 --- Homography transformation using GA --- p.39 / Chapter 4.4 --- Visual-based iterative correction example --- p.45 / Chapter 4.5 --- Chapter summary --- p.49 / Chapter 5. --- ITERATIVE ENHANCEMENT ON OFFSET EFFECT AND BRUSH THICKNESS --- p.52 / Chapter 5.1 --- Offset painting effect by Chinese brush pen --- p.52 / Chapter 5.2 --- Iterative robot drawing process --- p.53 / Chapter 5.3 --- Iterative line drawing experimental results --- p.56 / Chapter 5.4 --- Chapter summary --- p.67 / Chapter 6. --- GA-BASED BRUSH STROKE GENERATION --- p.68 / Chapter 6.1 --- Brush trajectory representation --- p.69 / Chapter 6.2 --- Brush stroke modeling --- p.70 / Chapter 6.3 --- Stroke simulation using GA --- p.72 / Chapter 6.4 --- Evolutionary computing results --- p.77 / Chapter 6.5 --- Chapter summary --- p.95 / Chapter 7. --- BRUSH STROKE FOOTPRINT CHARACTERIZATION --- p.96 / Chapter 7.1 --- Footprint video capturing --- p.97 / Chapter 7.2 --- Footprint image property --- p.98 / Chapter 7.3 --- Experimental results --- p.102 / Chapter 7.4 --- Chapter summary --- p.109 / Chapter 8. --- CONCLUSIONS AND FUTURE WORKS --- p.111 / BIBLIOGRAPHY --- p.113

Footprint analysis of brush-pen is an important part of studying Chinese drawing and painting. The designed platform is capable to capture and analysis of the brush footprint in real-time. Transparent drawing plate and an underneath camera system are installed, together with projective rectification and video segmentation algorithms, analog footprint can be transformed to digital data. Both non-parametric and parametric modeling on the captured footprint data will be explored in this thesis. Dynamics and time-delay will also be studied. The results are demonstrated by producing a well-known Chinese calligraphy in our study. / Robot drawing is an integrated study in the fields of robotics, machine intelligence, genetic algorithms (GA), rule base techniques, and expert system, etc. Besides looking into sophisticated methods in manipulator planning and control, robot drawing also aims to fulfill a human desire to put creativity in machines and to explore a basic question: can art be programmed? In this thesis, we report on the design and construction of a robot platform in our laboratory geared toward the production of Chinese painting and calligraphy which we will use to explore some of the above issues. / This thesis aims to report on the design and development of a robot drawing platform supporting a pen motion with five degrees of freedom (x, y, and z translation, z-rotation, and pitch) of a brush-pen motion in our laboratory. The platform is interfaced with a camera system and a writing tablet via a window based PC. The integration programming language is Visual Basic 6, with direct access to MATLAB for image processing and the needed computation. The objective of design is to have a platform that is highly accurate and repeatability, easy to command, versatile and user friendly, etc. / This thesis also describes the addition of vision-based capabilities in the platform. Those vision feedback measures have to be calibrated by using optimization method or Genetic Algorithm. Various examples of how the vision information can be used to improve various aspects of the drawing quality in iterative drawing will be demonstrated. / by Lo, Ka Wah. / "August 2007." / Adviser: Yan Yeung. / Source: Dissertation Abstracts International, Volume: 69-02, Section: B, page: 1285. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (p. 143-147). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in English and Chinese. / School code: 1307.

Wang, Wenjia. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (p. 163-173). / In English with some Chinese; abstract also in Chinese. / Abstract of Calligraphy in the Context of Woodblock-printed Books: --- p.1 / Table of Contents: --- p.5 / List of illustration: --- p.7 / Acknowledgement: --- p.17 / Introduction --- p.18 / Chapter 1. --- Song Dynasty --- p.20 / Chapter 1.1 --- The Universal Acceptance of Yan Zhenqing´ةs Style 顔真卿 and Song-edition Books --- p.20 / Chapter 1.2 --- Liu Gongquan 柳公權 and Fujian Edition --- p.28 / Chapter 1.3 --- Ouyang Xun 歐陽詢 and Jiangzhe Edition --- p.33 / Chapter 1.4 --- Song Xieke Editions 宋寫刻本 --- p.37 / Chapter 1.5 --- The Collection of Eulogies on Kunshan 崑山雜詠 and Huang Tingjian 黃庭堅 --- p.37 / Chapter 1.6 --- Su Shi 蘇軾 and the Literary Anthology of Tao Yuanming 陶淵明集 --- p.39 / Chapter 2. --- Zhao Mengfu 趙孟頫 and Yuan Book Production --- p.42 / Chapter 3. --- Ming Dynasty --- p.51 / Chapter 3.1 --- Palace Edition Books and Zhao Mengfu's Lingering Influence in the Early Ming --- p.51 / Chapter 3.2 --- Wu School Calligraphy and Popular Typeface in the Mid-Ming --- p.52 / Chapter 3.3 --- Shen Zhou´ةs Calligraphy in his Manuscript and the Later Edition of Shen's Anthology --- p.52 / Chapter 3.4 --- "Wu Kuan's Calligraphy, Handwritten Book and His Published Anthology" --- p.56 / Chapter 3.5 --- The Rise of the so-called Song-style Printing Script 宋體字 and Xieke Editions 寫刻 in the Late Ming --- p.62 / Chapter 3.6 --- Liu Rushi´ةs (1618 -1664) Wuyin cao 戊寅草 and the Standard Song-style Printing Script --- p.62 / Chapter 3.7 --- Liu Rushi´ةs Letters 尺牘（1639-40)，“Carved as Written´ح Preface and Mid- and Late Ming's Frenzy for Su Shi's Style --- p.64 / Chapter 3.8 --- Liu Rushi´ةs Hus hang cao 湖上草（1639) and Mid-Ming's Revival of Zhong Yao´ةs 鍾縣 Style --- p.65 / Chapter 3.9 --- Wang Ranming 汪然明 and Liu Rushi´ةs Publication --- p.69 / Chapter 4. --- Qing Dynasty --- p.73 / Chapter 4.1 --- Quange Ti 館閣體 and Siku Quanshu 四庫全書 --- p.73 / Chapter 4.2 --- Zheng Xie's 6 1/2 Script 六分半書 and His Self-designed Books --- p.75 / Chapter 4.3 --- "The Rise of Evidential and Epigraphical Studies and its Impact on Calligraphy and Printing, Wu Dacheng & the Analects in Seal Script" --- p.83 / Chapter 5. --- Conclusion --- p.86 / Chapter 6. --- Illustrations --- p.88 / Chapter 7. --- Bibliography --- p.163

Since the beginning of humankind, architecture has been a sacred source for all civilizations, and that has provided a gateway for man to reach the heavens above. In terms of concept and value, Persian art and architecture is considered as a rich source to be acknowledged. Within Persian architecture, the emphasis was placed strongly on beauty and sacred geometry; Persians calculated the proportions of heaven reflected upon them in the dimensions of buildings on the earth. Iranian culture has utilized the written word as an art form; this goes beyond normal means of communication. Iranian calligraphers produced eloquent styles and patterns through their divine talent, and this was displayed in the architecture. Parviz Tanavoli, as the greatest contemporary artist of Iran, has a strong tendency to be attracted to words and letters which has a long history in Iranian culture. Experimenting through aspects of cultural interaction in fine and applied arts has led to the understanding that when aesthetic elements of cultures are used to create a new design, it leads to both a new aesthetic creation and a fresh understanding of the cultures involved. This collection was designed and manufactured by concentrating on organic and curved forms and utilizing them in the design practice, while having a touch on cultural elements such as patterns and alphabets. The curved abstract shapes create a conceptual harmony, depicted in Persian patterns via functional three dimensional pieces.

Poetry by Post is a four-month poetry subscription service that will run from November of 2013 to February of 2014. I will produce one mailing per month that will include a letterpress-printed broadside that features a poem of my choosing and an accompanying literary analysis and reply postcard, also letterpress-printed, all contained within calligraphed envelopes and posted with vintage stamps. Subscriptions are available at $150 for the series or $50 for an individual mailing and will not exceed 50 in number. The inaugural Poetry by Post will feature Midwestern poets Jennie Kinneberg Wrisley, Eric McHenry, Catherine Tufariello, and Ted Kooser. I have taken "Midwestern" to mean anyone who has simply spent a good bit of time in the large swath of land in the middle of the U.S. And much like the Midwest, the poetry featured will be plainspoken but no less profound for that.

Thesis (doctoral)--Universität, Heidelberg, 2000. / Includes bibliographical references (p. [146]-154) and index.

Temos aktualumas: Kiekvienas turime nepakartojamus pirštų atspaudus, taip pat savita yra ir kiekvieno rašysena, perteikianti individualius asmenybės bruožus ir charakterio ypatumus. Problema: Šiais kompiuterinių technologijų laikais labai pravartu susipažinti su kaligrafijos technika. Kompiuteriai atlieka tik mechaninį darbą, bendra rašto kultūra mūsų dienomis smuko. Retai ranka rašome laiškus, mažai rūpinamės jų estetiniu vaizdu. Tyrimo objektas: kaligrafijos vaidmuo mokinio vizualinėje raiškoje. Tikslas: išsiaiškinti kaligrafijos įtaka mokinio vizualinėje raiškoje, remiantis kaligrafijos žinovų nuomonėmis. Uždaviniai: 1. Išanalizuoti mokslinėje, filosofinėje bei pedagoginėje literatūroje kaligrafinio meno sąvoką bei ypatumus. 2. Atskleisti kaligrafijos meno sąvokas ir kaligrafijos taikymo dailės ugdyme kai kuriuos aspektus. 3. Išsiaiškinti Lietuvos kaligrafijos ekspertų, taip pat dailės mokytojų nuomonę ir požiūrį į kaligrafiją ir jos vaidmenį vaikų vizualinėje raiškoje. 4. Ištirti kaligrafijos vaidmenį mokinių vizualinėje raiškoje. Darbo metodai: 1. Teorinis: filosofinės, psichologinės, pedagoginės, švietimo dokumentų ir kitos darbo temai aktualios literatūros sisteminė analizė. 2. Empiriniai: • Žvalgomasis tyrimas (dailės mokytojų anketinė apklausa, padėjusi išsiaiškinti jų požiūrį ir žinias apie kaligrafijos vaidmenį vaikų kūryboje); • Kokybinis tyrimas (interviu padėjo išsiaiškinti kaip profesionalai- kali grafai, žiūri į kaligrafijos vaidmenį kūryboje ). 3... [toliau žr. visą tekstą] / Relevance of the subject: Everyone have their unique fingerprints, also each script is unique and reflects the individual personality traits and character features. Problem: On these times of computer technologies, it is very useful to perceive calligraphy techniques. Computers can do only mechanical work, the overall script culture is falling into decay. Rare hand-write letters, little care for their aesthetic appearance. The object of the research: The role of calligraphy in student's visual expression. Goal: To clarify the influence of calligraphy to student's visual expression, on the basis of calligraphy connoisseur's views. The main tasks: 1. To analyze in the scientific, philosophical and pedagogical literature the concept and character of calligraphic art. 2. To reveal the concepts of calligraphy art and some aspects of calligraphy adaptation in education and other areas. 3. Clarifying the Lithuanian expert's in calligraphy, as well as art teacher's views and opinions on the role of calligraphy in children's visual expression. 4. To investigate the role of calligraphy in student visual expression. Working Methods: 1. Theoretical: systematic analysis of philosophical, psychological, pedagogical, educational literature and other documents that are related to the topic. 2. Empirical: • Observational research (a test surveys for the art teachers that helped to clarify their standpoints and knowledge about the role of calligraphy in children's works); • Qualitative... [to full text]

This project combines metalsmithing and calligraphy into an expressive art form through which the artist can celebrate and share both her understanding of life and the creative, loving God who motivates her art.The rich, calligraphic imagery of the Hebrew, Uncial (early Christian), and Italic alphabets was chosen as the design source.A solid understanding and skillful implementation of a variety of metalworking techniques and calligraphic skills were necessary to turn concept into form, idea into language.Designed and executed for this project were four liturgical objects, two non-functional forms, three functional forms, and nine pieces of jewelry. / Department of Art

Thesis (DDes) - National Institute for Design Research, Swinburne University of Technology, 2008. / Submitted in partial fulfillment of the requirements of the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design, Swinburne University of Technology - 2008. Typescript. Submitted in partial fulfilment of the requirements for the degree of Professional Doctorate in Design, National Institute for Design Research, Faculty of Design Research, Swinburne University of Technology, 2008. Bibliography: p. 108-115.