The research uses Burgert (1998) and Brody Neuenschwander’s (2000) ideas of the ‘Linear Graphic’ to explore the creative and expressive qualities of the line. In addition, the characteristics of Ch’i are also analysed and identified. This is achieved by exploring and interpreting classic Chinese principles such as ‘Ch’i Yuen Shen Tung’ (Rhythmic Vitality), ‘Harmony of the Mind and Hand’ and ‘Stilling the Heart’. As a result, new approaches of ‘Simplicity’ and ‘Spontaneity’ have been developed for Western calligraphy. These approaches demonstrate the requirement of the control and integrity of the calligrapher. The research also places emphasis on the development of one’s ‘self-being’ to cultivate the internal and external aspects of calligraphy. This is achieved through the creation of calligraphy pieces as part of this developmental process. Digital media are also explored by using these same principles and approaches. New characteristics and processes such as ‘Layering’, ‘Reusability’ and ‘Simplicity and Complexity’ in print based calligraphy, as well as ‘Dynamism’, ‘Customisability’, ‘Impermanence’ and ‘Interactivity’, in computational calligraphy have emerged as a result.

Calligraphy and calligraphic elements in abstract art demonstrate the differences between Japanese and American approaches to abstraction. An examination of the use of calligraphy in Japanese art can reveal how its historic tradition in Japan lends depth and meaning to an image, which is not effectively possible for American artists using the same forms. These differences descend from a Japanese writing system that developed as abstracted images in themselves. Though the Western tradition of Abstract Expressionism art sought to make the experience of painting purely visual without the aid of narrative, explanation, or text, both American and Japanese artists used calligraphic forms. In a word and image analysis, this thesis demonstrates how these calligraphic forms can reveal layers of meaning within their appropriate cultural context. Reconciling calligraphy with abstract art presents the conflict of East meeting West in a new form.

University of Macau / Faculty of Science and Technology. / Department of Computer and Information Science

This is a graphic account, showing various spaces found in a work of Chinese calligraphy, using, for analysis, the work of contemporary calligrapher Noriko Maeda, historical examples by Wang Hui, Wang Xizhi, Wen Cheng Ming, Dong Qichang and Li Chun’s treatise on calligraphy, The 84 Laws. Chinese calligraphy is a spatial practice: a sensibility combining graphic design and kinesis. The Chinese character is a line graph centered within an imaginary square and written in a prescribed way using rules of stroke order, ensuring that the lines of a word are added systematically, and in the same order each time the word is painted. In Chinese calligraphy, the hand moves in the x- and y-axes – horizontally, vertically, laterally, diagonally – and the z-axis – up and down in relation to the paper. Stroke order ensures that no move is repeated successively. When a brush makes contact with a hard surface, the tip flexes, and the brush responds to a downward force; in this way, a brushstroke is a record of a hand gesture. Going beyond a two-dimensioned graphic, the brush makes active the up-and-down axis, the z-axis; writing is a gesture that operates in three dimensions: as one writes, the hand inscribes a physical space, moves circuitously over a spot while pushing and lifting the brush. But the Chinese character is also a descriptor of time. The five styles – Hsiao Chuan, Li, Tsao, Chen, Tsing – represent the evolution of the character form in its relation to the timing of the strokes. The calligrapher’s art is in his control of timing: in essence, knowing when to stop, when to go, and when to turn. Environmental and emotional circumstances affect the calligrapher’s sense of timing, so that every piece of calligraphy is unique, specific to the moment of its creation. A brush character is not a simple graphic, but rather, it is a notation of movement, mapping the passage of the hand over the page. A piece of calligraphy demonstrates a hand and brush in motion, the product of a moment’s creativity at a specific place and time.

This is a graphic account, showing various spaces found in a work of Chinese calligraphy, using, for analysis, the work of contemporary calligrapher Noriko Maeda, historical examples by Wang Hui, Wang Xizhi, Wen Cheng Ming, Dong Qichang and Li Chun’s treatise on calligraphy, The 84 Laws. Chinese calligraphy is a spatial practice: a sensibility combining graphic design and kinesis. The Chinese character is a line graph centered within an imaginary square and written in a prescribed way using rules of stroke order, ensuring that the lines of a word are added systematically, and in the same order each time the word is painted. In Chinese calligraphy, the hand moves in the x- and y-axes – horizontally, vertically, laterally, diagonally – and the z-axis – up and down in relation to the paper. Stroke order ensures that no move is repeated successively. When a brush makes contact with a hard surface, the tip flexes, and the brush responds to a downward force; in this way, a brushstroke is a record of a hand gesture. Going beyond a two-dimensioned graphic, the brush makes active the up-and-down axis, the z-axis; writing is a gesture that operates in three dimensions: as one writes, the hand inscribes a physical space, moves circuitously over a spot while pushing and lifting the brush. But the Chinese character is also a descriptor of time. The five styles – Hsiao Chuan, Li, Tsao, Chen, Tsing – represent the evolution of the character form in its relation to the timing of the strokes. The calligrapher’s art is in his control of timing: in essence, knowing when to stop, when to go, and when to turn. Environmental and emotional circumstances affect the calligrapher’s sense of timing, so that every piece of calligraphy is unique, specific to the moment of its creation. A brush character is not a simple graphic, but rather, it is a notation of movement, mapping the passage of the hand over the page. A piece of calligraphy demonstrates a hand and brush in motion, the product of a moment’s creativity at a specific place and time.

Thesis (M. Arch.)--University of Hong Kong, 2002. / Includes special study report entitled: Cultural background of Chinese calligraphy. Includes bibliographical references.

The Chinese government has long assumed that families will bear the social and health care burden of the older population. However, this is becoming increasingly difficult and is hardly a model of care that can be sustained with the projected growth of the older demographic. Since the late 1970s, China has successfully controlled the population growth by applying the One-Child Policy. However, its byproduct, the “4-2-1 problem”, along with the unavoidable trends of globalization and migration, means that older generations must often rely on themselves, and not their children or grandchildren, for care and support. To prepare for this challenge – the weakening of traditional filial piety – this proposal of an active retirement community centre for calligraphy art reflects a desire for a new way of living during the second half of life. Instead of viewing old age as a residual period, this proposal sets the stage for older adults to continue their contributions as they age. Calligraphy performance as a traditional cultural activity offers older adults a great balance between activity and leisure, caring for the body and caring for the soul. Additionally, the artistic quality of calligraphy art is used to express and convey ideas for the design process.

The Chinese government has long assumed that families will bear the social and health care burden of the older population. However, this is becoming increasingly difficult and is hardly a model of care that can be sustained with the projected growth of the older demographic. Since the late 1970s, China has successfully controlled the population growth by applying the One-Child Policy. However, its byproduct, the “4-2-1 problem”, along with the unavoidable trends of globalization and migration, means that older generations must often rely on themselves, and not their children or grandchildren, for care and support. To prepare for this challenge – the weakening of traditional filial piety – this proposal of an active retirement community centre for calligraphy art reflects a desire for a new way of living during the second half of life. Instead of viewing old age as a residual period, this proposal sets the stage for older adults to continue their contributions as they age. Calligraphy performance as a traditional cultural activity offers older adults a great balance between activity and leisure, caring for the body and caring for the soul. Additionally, the artistic quality of calligraphy art is used to express and convey ideas for the design process.

No description available.

Thesis(M.I.D.)--Auburn University, 2005. / Abstract. Vita. Includes bibliographic references (p.90-92).