The current thesis aims to offer a new perspective to understand identity creation in the city. It is an investigation into how the identity of a place is constructed by the text displays of Chinese calligraphy in landmarks of physical construction in urban space in Hong Kong. The study was inspired by an earlier inquiry into architecture and a concurrent interest in Chinese culture, and as such this thesis tries to use the language of architecture and that of Chinese calligraphy which is a quintessential form of Chinese arts, to weave out the identity markers in the city. Chapter Two then deals with the background theories in the study of text in urban space. By putting the text of calligraphy back into the context of urban space to create a spatial narrative, the homogenous urban space rediscovers a possibility to attain its distinctive character for a place. To facilitate the discussion, a thematic perspective was taken in the investigation. The thesis will explore the issue through the analysis of both visual and textural materials in the city context. By putting the study of text of calligraphy back in the context of urban space, it reveals a new dimension in identity creation which has seldom been thoroughly investigated. Chapter Three opens up the discussion with the calligraphy of the political figure, Dr. Sun Yat-sen who is regarded as the founding father of China. His brushworks are used to mark the footprints of his presence in Hong Kong through extensive urban construction. Chapter Four deals with the use of calligraphy in two sites, both bear an emblematic meaning on the earlier history on the cessation of Hong Kong to the British. Despite of the fact that both sites are designed as Chinese garden, the use of historical reference has taken in completely different approaches. Calligraphy is again a key element in identity creation. Chapter Five looks into the religious venues where ample amount of calligraphy works in different formats can be found. By referencing to historical incidents, the religious content is intermingled with the consents from government officials and emperors to create a common identity. Chapter Six further examines the creation of public text of calligraphy by the commercial scene in urban space. The verticality of streetscape infested with commercial icons entails the use of large character writing in a more dramatized style. Thus, the tradition of calligraphy practice when carried out in the colonial urban space compels certain modifications to fit into the context. The conflict in reading direction of English and Chinese in many biliterate signage shows a contrast in cultural identity. Based on the findings from this thematic investigation, the thesis opens up a new dimension in the understanding of brushworks of calligraphy in social and cultural context. By reading the calligraphy in its urban context in Hong Kong, it turns out that the text not only embodies the presence of the calligrapher but also links this presence to a richer spatial background. This crucial link between text, people and space is the fundamental activities for the creation of identity.

No description available.

There are five chapters. Chapter 1 reviews the publishing of catalogs, the methods used to identify fake copies, and previous scholarly studies. I will also define the research scope, objective and methodology of the study. Chapters 2 to 4 explain the relationships between official sutra copies and Buddhist ones, religion and scripture calligraphy, and the copyists and their calligraphy. Through analysing the colophons at the end of the manuscripts and the style of the calligraphy, I intend to show the impact of politics, religion and the status of the copyists on the calligraphy. Chapter 5 focuses on the artistic style of the calligraphy of Dunhuang scriptures, explores the concepts of Xiejing Style and Beiliang Style , and highlights the stylistic differences and similarities in different geographical areas. / This study demonstrates that Dunhuang scriptures are an important part in the history of Chinese calligraphy. The quality of the calligraphy varies: some may be masterpieces while others common everyday writings. / This thesis investigates the calligraphy of Buddhist and Daoist scriptures found in Dunhuang and Xinjiang, spanning from the Jin dynasty to the Song dynasty. The calligraphy of the copied scriptures is analyzed in its specific social and historical context. Based on historical records, contemporary references and the actual objects themselves, this study uses a textual, comparative research method to give an overview of the calligraphy and to describe its course of development in an approach that is as faithful to history as possible. / 毛秋瑾. / 呈交日期: 2005年12月. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 143-149). / Cheng jiao ri qi: 2005 nian 12 yue. / Advisers: Jao Tsung-i; Harold Mok Kar-leung. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4016. / 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. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 143-149). / Mao Qiujin.

洪娟. / 論文(哲學博士)--香港中文大學, 2004. / 附參考文獻 (p. i-xii). / 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 Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Hong Juan. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Fu can kao wen xian (p. i-xii).

譚沛榮. / 論文(哲學碩士) -- 香港中文大學硏究院藝術學部, 1998. / 附參考文獻. / 中英文提要. / Tan Peirong. / 緒言 --- p.i-iii / Chapter 上篇 --- 陳獻章的時代背景及生平 / Chapter 第一章 --- 明代初期至中期的政治及社會狀況 --- p.1 / Chapter 第一節： --- 帝主的作風 --- p.1 / Chapter 第二節： --- 駕馭臣民之術 --- p.3 / Chapter 第三節： --- 士人的趨避 --- p.5 / Chapter 第四節： --- 朱熹理學的尊崇 --- p.6 / Chapter 第五節： --- 地方民變頻仍 --- p.7 / Chapter 第六節： --- 地方經濟文化重心 --- p.8 / Chapter 第二章 --- 陳獻章的生平 --- p.12 / Chapter 第一節： --- 從學及科考 --- p.12 / Chapter 第二節： --- 閉門讀書及居ˇёإ授徒 --- p.15 / Chapter 第三節： --- 復遊太學、名震京師及科考落第 --- p.16 / Chapter 第四節： --- 居ˇёإ講學及盛名牽累 --- p.21 / Chapter 第五節： --- 應徵赴京、受窘及獲授官銜 --- p.24 / Chapter 第六節： --- 屢薦不起、著文寄託 --- p.27 / Chapter 下篇 --- 陳獻章的書法藝術 / Chapter 第一章 --- 明代書壇狀況 --- p.33 / Chapter 第一節： --- 皇帝愛惡 --- p.33 / Chapter 第二節： --- 大型刻帖的影響 --- p.34 / Chapter 第三節： --- 永樂大典修編的影響 --- p.34 / Chapter 第四節： --- 書壇局面的統合與分立 --- p.35 / Chapter 第五節： --- 明代書藝理論及淵源 --- p.37 / Chapter 第二章 --- 陳獻章的理學 --- p.41 / Chapter 第一節： --- 本體論：自然與自得 --- p.42 / Chapter 第二節： --- 方法論：虛與靜 --- p.45 / Chapter 第三章 --- 陳獻章的藝術觀 --- p.51 / Chapter 第一節： --- 詩觀 --- p.51 / Chapter 第二節： --- 對藝術的一般態度 --- p.55 / Chapter 第三節： --- 對藝術商品化的態度 --- p.57 / Chapter 第四章 --- 陳獻章書法藝術的師承 --- p.66 / Chapter 第一節： --- 幼學 --- p.66 / Chapter 第二節： --- 國子監課業 --- p.67 / Chapter 第三節： --- 嶺南文物 --- p.68 / Chapter 第四節： --- 朋輩影響 --- p.70 / Chapter 第五章 --- 陳獻章的書藝觀 --- p.73 / Chapter 第一節： --- 書藝與人生 --- p.73 / Chapter 第二節： --- 藝以載道 --- p.74 / Chapter 第三節： --- 中庸之道 --- p.76 / Chapter 第六章 --- 陳獻章茅龍書藝的成因及工具 --- p.82 / Chapter 第一節： --- 浙派畫風的薰染 --- p.83 / Chapter 第二節： --- 林良筆法的啓迪 --- p.84 / Chapter 第三節： --- 茅筆的材料及製造 --- p.86 / Chapter 第四節： --- 茅筆工具的局限性 --- p.88 / Chapter 第七章 --- 陳獻章的書法風格 --- p.91 / Chapter 第一節： --- 毛筆書風格 --- p.91 / Chapter 第二節： --- 茅筆書風格 --- p.93 / Chapter 第八章 --- 陳獻章書藝的成就及評價 --- p.97 / Chapter 第一節： --- 在書法工具上的創新 --- p.97 / Chapter 第二節： --- 在書法文化及藝術經濟上的貢獻 --- p.98 / Chapter 第三節： --- 理學與書藝的融合 --- p.99 / Chapter 第四節： --- 書法史地位的商榷 --- p.100 / Chapter 第五節： --- 書法史對陳獻章的忽略及誤解 --- p.101 / 參攷書目 --- p.107 / 附錄 / Chapter ´ؤ. --- 陳獻章年表 --- p.112 / Chapter 二. --- 陳獻章題跋書畫詩文一覽表 --- p.122 / Chapter 三. --- 陳獻章書蹟辨僞 --- p.124 / Chapter 四. --- “祇署´ب白沙，之陳獻章書蹟皆膺品´ح之商榷 --- p.126 / Chapter 五. --- 陳獻章書法作品編年評釋及圖版 --- p.129 / Chapter 六. --- 各章插圖 --- p.282 / 謝辭 --- p.306

本論文旨在探討柳公權的書藝作品及其書學之影響。中國書法幾千年來一直處於變革中，面對書法藝術上瞬息萬變的思潮，在書法史上，柳公權的書法成就對後世的影響至深且鉅。本論文分作七章：第一章<緒論>，敘述本論文的研究動機、研究範圍與方法、並論述前人之研究成果與柳書作品大略。第二章＜柳公權之生平及其時代背景＞，主要以歷史研究法來探究柳公權的生平概況，並從「知人論世」觀點，了解柳公權的書學背景及柳書形成之原因。 第三章＜柳公權書法之淵源＞，柳書淵源來自五方面：一、是源於鍾繇，柳公權得其含蓄、自然；二、是源於二王，柳公權得其平和、古樸、清逸之韻；三、是初唐四家，歐陽詢、虞世南、褚遂良、陸柬之等人，柳公權得其清勁、含厚之雅；四、是源於顏真卿，柳公權得其寬博、挺拔之氣；五、是源於六朝碑版及其他，像是北碑中具雄強峭拔、斬截方正者，柳公權得其清勁、峻拔之質。柳公權遍閱其時筆法、集古意創新意，儼然形成所謂的「柳體」。第四章＜柳公權之書法及其特色＞，杜甫有詩云：「書貴瘦硬方通神。」，柳書瘦勁挺拔，結體法度森嚴，筆法靈活多變等為柳體之主要特色。 第五章＜顏柳書法之比較＞，柳公權是繼顏真卿之後，唐代最重要的書家。從張旭到顏真卿、顏真卿到柳公權，柳書的特色就是破舊立新，開拓新局面。蘇軾《題唐氏六家書後》云：「柳少師書本出於顏，而能自出新意。一字百金，非虛語也。 」顏柳使點線更富於立體感、節奏感，將唐楷書藝推向另一境界。第六章＜柳公權在書法史上的評價與影響＞，柳體的特點在於融匯前人特色而轉出新變，就學習書法者而言，容易得其形，而難以得其神，學書者往往只能抓住其中宮緊密、四周舒放的結體特點，並就其方硬瘦勁的筆畫特徵而加以學習；雖得其體貌表象，然對其神韻卻不易理解展現。因而柳書不易學習，自然也就容易為人所誤解批評了。第七章＜結論＞，綜理前面論述的研究成果剖析柳公權在書法藝術上之成就。 / The present paper is for the purpose of discussing Liu Gongquan's book skill work and the book study the influence. Chinese calligraphy for several thousand years have been in the transformation, facing calligraphy art in fast changing ideological trend, in calligraphy history, Liu Gongquan's calligraphy achievement to later generation influence to depth and great. The present paper minute makes seven chapters: The first chapter, the narration present paper's research motive, the range of study and the method, and elaborate of research results and the willow tree book work the predecessor greatly slightly. The second chapter < biography and time background the Liu Gongquan >, mainly by the historical methodology inquired into that Liu Gongquan's biography survey, and from “judges people and the times” the viewpoint, understood that Liu Gongquan's book study background and the willow tree book forms the reason. The third chapter < origin of the Liu Gongquan calligraphy >, willow tree book origin from five aspects: First, is stems from the clock zhou, Liu Gongquan must it contain, the nature; Second, is stems from two kings gentle, Liu Gongquan its, plain, the fresh and elegant rhyme; Third, is at the beginning of Tang four, Ouyang Xun, Yu Shina, Zhu Suiliang, land Cambodia et al., Liu Gongquan its clear vigor, contains the thick elegance; Fourth, is stems from Yan Zhenqing broad-mindedly, Liu Gongquan its, the tall and straight gas; Fifth, is stems from Six Dynasties tablet version and other, is likely north in the tablet powerful high and precipitous, unhesitating uprightness, Liu Gongquan its clear vigor, steep nature. Liu Gongquan spreads reads meantime the writing technique, collection ancient Italy to create the fresh idea, just like forms so-called “the liu's style”. The fourth chapter < calligraphy and characteristic the Liu Gongquan >, Du Fu has the poem cloud: “book expensive slender but vigorous Fang Tongshen.” Liu Shu the thin vigor is tall and straight, ties the body law to be stern, writing technique flexible and so on for liu's style main characteristic. The fifth chapter < comparison of the face willow tree calligraphy >, Liu Gongquan is after Yan Zhenqing, Tang Dynasty most important book. From Zhang Xu to Yan Zhenqing, Yan Zhenqing to Liu Gongquan, Liu Shu the characteristic is destroys the old and establishes the new, develops the new ball game. After Su Shi "Topic Tang Six Letters", cloud: “Liu Shaoshi the books stem from the face, but can from leaves the fresh idea. A character hundred gold, non-empty language.” Yan Liushi the line between two points is rich in the stereoscopic effect, the rhythm, pushes to another boundary the Tang kaishu skill. The sixth chapter < Liu Gongquan's in calligraphy history appraisal and influence >, the liu's style characteristic lies in the blending together predecessor characteristic to exit changes newly, speaking of the study calligraphy, is easy its shape, but its god, studies the book often only to be able with difficulty to hold the palace close, all around sends forth the knot body characteristic, and the thin vigor's stroke characteristic performs on its Fang Ying to study; Although its appearance representation, however is not actually easy to its charm to understand the development. Therefore Liu Shu is not easy to study, also to misunderstand naturally on the easy manner criticizes. The seventh chapter < conclusion >, in front of the synthesis principle elaborates the research results analyze Liu Gongquan in the calligraphy art the achievement.

Chinese calligraphy and Western typography have been evolving for around five thousands years. During this time, they have developed quite different characteristics. Compared with the geometrical form and precision of Western printing types, Chinese calligraphy features abstract shapes and spontaneous strokes. These differences result in a gap that prevents a harmonious and organic relationship between them. This project explores the possibilities of combining these two historical visual systems, demonstrates specific methods and approaches for creating compelling formal relationships, and endeavors to establish a friendly, organic and harmonious dialogue between Chinese calligraphy and Western typography. The outcome of this project is a handmade book and a series of posters. The content of them comes from the writings of Lao-Tzu.

My thesis work is about flow. Indeterminate lines symbolize the developing plant form and explore the perception of space by experimenting with the subject's proportion and shape. Movement is also a vital factor of space, a notion found in the early forms of cursive script (grass script) of Far Eastern calligraphy. My individual plant pieces work as dots and lines of cursive script. An installation's ceramic pieces illustrate similar flow and movement when viewed as a whole.

The research aims to provide an alternative working methodology from the perspective of a contemporary Chinese artist, not a calligrapher, to answer the research question: how does one create new works of calligraphy an art so burdened with historical tradition? This is practice based research; the designed pattern of study aims to test and to exemplify the relationship, and also most importantly based on the nature of the investigation and practical necessity, the strategy of the research project is implemented in a dialectical construction as the title of the thesis suggests.

Cette étude se propose d'examiner les rapports entre l'Orient et l'Occident dans La Goutte d'or de Michel Tournier. Dans le cadre d'un voyage initiatique en Occident effectué par un jeune berger nord-africain, l'auteur jette la lumière sur l'image que chacun des deux mondes se forge de l'autre tout en montrant dans quelle mesure cette représentation influence la communication et le dialogue entre eux. Le fond et la forme du roman mettent l'accent sur la possibilité d'un échange culturel bénéfique entre l'Orient et l'Occident, et ce en dépit des différences qui les séparent et des conflits qui les opposent. Notre recherche examinera d'abord l'angle sous lequel se présente la relation entre l'identité et l'altérité dans le roman à travers l'analyse de la crise identitaire du héros et de son influence sur ses rapports avec l'Autre occidental dans le contexte de l'immigration. Nous passerons ensuite à l'examen de ce que l'auteur appelle "civilisation de l'image" et "civilisation du signe". Nous analyserons les différentes formes sous lesquelles se présentent l'image et le signe dans le roman, ainsi que les raisons pour lesquelles les religions monothéistes sacralisent ou prohibent les représentations figurées, analyse qui nous permettra de dégager la conception tourniérienne de chacune de ces deux entités distinctes, l'image et le signe, et de saisir la nature ambivalente de la relation de l'une à l'autre. Nous étudierons finalement l'influence de l'Orient arabe sur Michel Tournier qui marie dans sa Goutte d'or des éléments empruntés à la tradition arabo-islamique à d'autres appartenant à la littérature et la mythologie occidentales dans le cadre d'une structure inspirée des Mille et une Nuits. / This study aims to examine the relationship between Orient and Occident in Michel Tournier's novel The Golden Droplet. Through an initiatory journey to the West carried out by a young North African shepherd, the author sheds light on the image that each of these two worlds has of the other while showing how this representation influences communication and dialogue between them. The content and the form of the novel focus on the possibility of a beneficial cultural exchange between Orient and Occident, in spite of the differences separating them and the conflicts opposing them. Our research will first examine how the relationship between identity and otherness is perceived in the novel through the analysis of the hero's identity crisis and its impact on his relationship with the Western other in the immigration context. Then we will review what the author calls "civilization of the image" and "civilization of the sign". We will analyze the different forms in which are presented the image and the sign in the novel and why monotheistic religions sanctify or prohibit figurative representations, analysis which will allow us to degage Tournier's conception of each of these two separate entities, the image and the sign, and grasp the ambivalent nature of the relationship of one to the other. Finally, we will study the influence of the Arab East on Michel Tournier who married in his Golden Droplet elements from the Arab-Islamic tradition to others belonging to Western literature and mythology through a structure inspired by the Arabian Nights.