Thesis (M.Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 244-262) Also available in print.

Thesis (Ph. D.)--University of Hong Kong, 2010. / Includes bibliographical references (leaves 361-368). Also available in print.

Thesis--Princeton, 1976. / Includes bibliographical references (v. 1, leaves 314-331).

Lam, Hiu Man. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 143-148). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

Lam, Hiu Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 84-89). / Abstracts in English and Chinese. / Chapter Chapter 1: --- Introduction --- p.1 / Chapter 1.1. --- Overview on Robotics --- p.1 / Chapter 1.2. --- Literture Review on Art-Robot --- p.1 / Chapter 1.3. --- Robot artist for Chinese Calligraphy and Paintings --- p.3 / Chapter 1.4. --- Motivation and Research Objective --- p.4 / Chapter 1.5. --- Thesis Outline --- p.5 / Chapter Chapter 2: --- Intelligent Robotic Art System --- p.6 / Chapter 2.1. --- Previous Configuration --- p.6 / Chapter 2.1.1. --- 3 DOF Manipulator --- p.7 / Chapter 2.1.2. --- Digital Image Input System --- p.7 / Chapter 2.2. --- Hardware Modification --- p.8 / Chapter 2.2.1. --- Additional Degree of Freedoms --- p.8 / Chapter 2.2.2. --- Infra-red Sensing System for Manipulator Positioning --- p.9 / Chapter 2.2.3. --- Axial-rotary Brush --- p.11 / Chapter 2.2.4. --- Interface program --- p.13 / Chapter 2.2.5. --- Vibration Reduction --- p.16 / Chapter Chapter 3: --- Skeletonization Based on Delaunay Triangulation and Bezier Interpolation --- p.18 / Chapter 3.1. --- Background Theory --- p.20 / Chapter 3.1.1. --- Smoothed Local Symmetry --- p.20 / Chapter 3.1.2. --- Delaunay Triangulation --- p.21 / Chapter 3.1.3. --- Bezier Curve --- p.23 / Chapter 3.2. --- Algorithm --- p.24 / Chapter 3.2.1. --- Edge Sampling --- p.24 / Chapter 3.2.2. --- Triangle Modification --- p.26 / Chapter 3.2.3. --- Triangle Filtering and Replacement --- p.28 / Chapter 3.2.4. --- Internal Edge Refinement --- p.30 / Chapter 3.2.5. --- Skeletal Interpolation --- p.31 / Chapter 3.3. --- Experiments --- p.32 / Chapter 3.4. --- Chapter Summary --- p.36 / Chapter Chapter 4: --- Stroke Segmentation for Chinese Words --- p.37 / Chapter 4.1. --- Rule-based Spurious Branches Removal --- p.38 / Chapter 4.1.1. --- Spurious Branch in Stroke Terminal --- p.40 / Chapter 4.1.2. --- Spurious Branch Caused by Turning Stroke --- p.42 / Chapter 4.2. --- Stroke Connectivity Determination --- p.44 / Chapter 4.2.1. --- Gradient of Medial Axis --- p.45 / Chapter 4.2.2. --- Gradient of Branch Boundary --- p.47 / Chapter 4.2.3. --- Branch Width --- p.49 / Chapter 4.2.4. --- Combined Objective Function --- p.50 / Chapter 4.3. --- Stroke Generation --- p.51 / Chapter 4.3.1. --- Stroke Connection between Branches --- p.52 / Chapter 4.3.2. --- Stroke Generation in Stroke Terminal --- p.53 / Chapter 4.4. --- Experiment Using Intelligent Robotic Art System --- p.54 / Chapter 4.5. --- Discussion --- p.59 / Chapter Chapter 5: --- Experimental Acquisition of Brush Footprints --- p.61 / Chapter 5.1. --- Brush Footprint Extraction --- p.62 / Chapter 5.2. --- Graphical Interface for Inputting Sample Points of Brush Footprints --- p.64 / Chapter 5.3. --- Curve Fitting for Brush Footprint Sample Points --- p.70 / Chapter 5.3.1. --- Curve Fitting Using Genetic Algorithm --- p.70 / Chapter 5.3.2. --- Curve Fitting by Least Squares Regression --- p.72 / Chapter 5.4. --- Discussion --- p.74 / Chapter Chapter 6: --- Trajectory Generation for Robotic Chinese Calligraphy --- p.75 / Chapter 6.1. --- Stroke Trajectory Searching with According Stroke Width --- p.75 / Chapter 6.2. --- Improvement in Stroke Trajectory --- p.77 / Chapter 6.3. --- Experiment --- p.80 / Conclusion and Future Work --- p.82 / References --- p.84 / Appendix --- p.90 / Chapter 9.1. --- Segmented Strokes of Bada Shanren's Calligraphy --- p.90

Thesis (Ph. D.)--Yale University, 1994. / Includes bibliographical references (leaves 312-331).

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 244-262).

Thesis (Ph. D.)--Princeton University, 1983. / Includes bibliographical references (v. 2, leaves [358]-425).

The aim of this thesis is to highlight the relevance of the spiritual dimension of Islamic calligraphy, focusing on the Turkish contemporary calligraphic tradition. Academic literature in the field has been dominated by the tendency to focus on the objects produced by artists, neglecting their personal experience and understanding of the art. Using a phenomenological perspective, I give voice to calligraphers I met in Istanbul and Konya, letting emerge their views on issues related to the relationship between art, religion and spirituality. I explore several themes that have arisen from the interviews I conducted with fifteen exponents of the contemporary tradition, organised as a journey from the most material aspects to the most abstract ones. The exploration of these themes starts with the symbolism hidden behind physical calligraphic tools, moving to the analysis of the symbolism of the point and the letters, elementary forms of the calligraphic creations. The bodily dimension has been taken into consideration, showing how the control of the body is an essential aspect of the calligraphic practice. The art can be conceived as a pathway requiring the development of several moral qualities and virtues, all necessary to improve both the artistic capabilities and the spiritual maturity of the practitioner, until the achievement of the authorisation to teach the art. Once a calligrapher reaches the license and the mastery of the art, they bear the responsibility of transmitting the art to others. Furthermore, they become agents of remembrance, portraying in the most beautiful manners the verses of the Quran in social religious spaces, as in mosques, or on calligraphic panels acquired by individual collectors or museums. Since their artwork focuses on representing religious materials, including the remembrance of the attributes of God and of Prophet Muhammad, their art is considered an act of worship. Finally, I investigate what the meaning of Divine Beauty is in Islamic calligraphy, presenting the perspectives of Turkish calligraphers and analysing the connections between the artistic form and the meaning of the contents of specific calligraphic works. In conclusion, I have not limited my analysis to the formal aspects of the art, rather I have highlighted the existential dimension of a complex practice which connects together several aspects of the human being, including the spiritual dimension. Thus, the traditional stream of Turkish contemporary calligraphy can be seen as a full manifestation of a culture, a lifestyle and a religion.

Orientadores: Arthur Hunold Lara, Anna Paula Gouveia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T21:01:22Z (GMT). No. of bitstreams: 1 Miyashiro_RafaelTadashi_M.pdf: 2986434 bytes, checksum: 3fda0ae87f24fcbcb7ecf99d04c85ebf (MD5) Previous issue date: 2009 / Resumo: O objetivo dessa dissertação foi pesquisar o tempo-espaço da criação da caligrafia japonesa, ou, em outras palavras, o ato da criação artística da caligrafia japonesa - em geral conhecida no Brasil como shodô e sho. Como percurso metodológico foi utilizada a idéia da complexidade, o que permitiu uma abordagem que considera a riqueza de nexos e relações nos vários componentes que formam a caligrafia japonesa, tanto na singularidade de cada parte, como na sua relação com o todo. Os tópicos abordados foram o histórico, os elementos simbólicos (linha e espaço), a materialidade e o corpo que faz a caligrafia. A pesquisa demonstrou que a caligrafia possui uma riqueza significativa, que ajuda a traçar um entendimento dessa arte como algo mais amplo - muito além de uma especialização dentro das escritas caligráficas, ou mesmo de um saber fragmentado dentro da cultura japonesa. Ultrapassando os traços da escrita, e mais do que um simples gesto, a caligrafia japonesa artística se apresenta como um ato dinâmico, formado de conexões, espaços e tempos, que deixam vestígios e marcas sensíveis e etéreas em sua criação. / Abstract: This dissertation is about the time-space interval of the Japanese Calligraphy, or in other words, the creative action of Japanese Calligraphy - usually known as shodô and sho in Brazil. The idea of complex systems has been used as a methodology guiding line, due to the sho/shodô network on its acting. This allowed to see every part of calligraphy as a significative one, as well as the merging of them all to do the calligraphy. The topics included shodô/sho history, the line and space, the materiality of calligraphy and the body that performs it. The research demonstrated that shodô/sho goes far beyond an act of writing or even a specialized field within Japanese culture. More than a simple gesture, Japanese calligraphy is a dynamic action, which is created through connections, spaces and times, that leaves vestiges and ethereal marks in its creation. / Mestrado / Mestre em Artes