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MODERN DIRECTIONS OF A TRADITIONAL ART: THE USE OF COLOUR IN JAPANESE CALLIGRAPHY
Abstract
This study aims to analyse the way in which modern techniques are used in the art of Japanese calligraphy (shodō). Known for its preservation of traditional values, over the years shodō has started to focus less on rigour of the form and more on the possibility to reflect the calligrapher’s vision and thoughts. The article intends to highlight this shift by accentuating the impact that the evolution of writing in Japan has had on shodō and ultimately showcasing the way in which colour is used by calligraphers. The two aspects this study will bring forth will be the way in which the evolution of writing in Japan created an opportunity for innovation and how the novelty factor has evolved, currently opening new possibilities of using colour to convey deeper layers of meaning. In order to illustrate how the use of colour in shodō can transcend conventional practices, we analyse the work (物の)哀 The beauty of simple and ephemeral things created by the contemporary Romanian calligrapher Rodica Frențiu. We conclude by emphasizing the close link between traditional values and the calligraphers’ expressivity and by underlining the fact that this approach can broaden the creative horizons of shodō in the future.
... The style of calligraphy education in the Qing Dynasty differed from that in other eras. The style of calligraphy in the Qing Dynasty is uniquely diverse and comprehensive through visual perception [14]- [16]. The promotion of Chinese calligraphy education has led to the formation of a discipline and made it a more mature discipline. ...
Huxiang (Hunan) calligraphy is an important part of Qing Dynasty Chinese calligraphy. The contemporary development of Hunan calligraphy education during the Qing Dynasty was a mirror-like exploration. With respect to the problem of contemporary calligraphy education, how to make this education model with traditional cultural characteristics move from ancient times to systematically modern education is an interesting question. This study has three goals: (1) to focus on the characteristics of the Hunan calligraphy style and the type, practice process, and influence of the calligraphy education model during the Qing Dynasty. (2) Investigate the development of calligraphy majors in contemporary universities in Hunan Province and build a model. (3) Evaluate the contemporary calligraphy development model and propose a strategy for model development. This study combined quantitative and qualitative approaches. The research sample group included representative calligraphers in Hunan during the Qing Dynasty and 30 corresponding studies. The research population included university calligraphy experts, heads of art museums, school-enterprise cooperation departments, primary and secondary calligraphy schools, university calligraphy teachers, students, and graduates. The data analysis tools used statistical analysis and synthesis methods to display the means and standard deviations. The results revealed that the average value of the Hunan calligraphy education model in the Qing Dynasty in the development of contemporary university calligraphy education in Hunan was 3.58, and the standard deviation was 1.23. Similarly, the average values of the six dimensions (curriculum system, faculty, learning resources, student development, and professional management) are close to or exceed 3.4. The regression analysis results supported hypotheses H1 to H5, and the p value (significance) was found to be <0.05. Similarly, from the in-depth interviews and discussion groups, a contemporary university professional education model can be constructed, development trends can be analyzed according to the goals, and development strategies can be proposed.
... However, the style of calligraphy education during the Qing Dynasty often differed from that of other eras. [13]- [15]. ...
Calligraphy is a major subject in contemporary art in Hunan Province. Therefore, historical and cultural expressions through the evaluation system of society and schools are necessary in all eras. This paper thus presents a contemporary development of the study of Hunan calligraphy, the Qing Dynasty, for modern education. The purpose of this study was to: (1) study and analyze the characteristics of calligraphy styles in Hunan Province during the Qing Dynasty. (2) To analyze the current development status of calligraphy education at the Contemporary Hunan University. (3) Evaluate the model and formulate a development strategy for a new form of professional calligraphy education in contemporary universities. This study used a mixed-method design consisting of quantitative and qualitative research. Different research tools were used to study and analyze the data on three issues: first, representatives of calligraphers from the Qing Dynasty, and related works. The second issue is current developments and modeling. A survey was conducted using questionnaires and expert interviews about the current state of development of calligraphy professional education in universities in Hunan. Third issue: Define a model development strategy. However, the results of a variety of data analyses with reliability and accuracy can analyze six main factors with descriptive analysis, demonstrating the effectiveness of each dimension. Correlation and regression analyses have proven the five factors of the curriculum system, faculty, learning resources, student development, and professional management. This had a significant positive impact on the contemporary development of Hunan calligraphy education: the Qing Dynasty for modern education. The results of these analyses show that the calligraphy education model in Hunan during the Qing Dynasty was effectively inherited and developed.
We are all fascinated by physiognomy, intrigued by the appearance of the people we admire. These perceptual portraits of more than 100 thinkers who have fashioned our understanding of mind and behavior provide an alternative view of the history of psychology that is both pleasing and puzzling.
Francis Bacon, René Descartes, Pierre Broca, Sigmund Freud, Carl Jung, Ruth Benedict, Allen Newell, David Marr and scores of others whose ideas have made psychology an empirical discipline emerge from motifs specifically drawn by the author or derived from a figure or text in one of the portrayed person's books, or an apparatus he or she invented. The ingenious treatment of portrait/motifs often challenges the viewer to discern the faces embedded in them and always tells us more than how these students of mind looked: these portraits reflect their thoughts and lead us to forage further into their lives and legacies.
The portraits and motifs have been manipulated in a variety of ways, using graphic and photographic procedures. They are arranged in order of birth date in a format of one page of descriptive text facing a full-page perceptual portrait. The text presents a brief synopsis of the person portrayed, that person's ideas, and the source of both the portrait and the motif. Interrelations between people are stressed, bringing to light common threads that run through the work of particular groups and adding yet another level to this unique gallery of psychology's pioneers.
Bradford Books imprint
Like Roland Barthes' well-known book, L’Empire des signes, from which the title of the present collection is taken, this volume contains essays dealing with certain aspects of Japanese culture.
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- Sho
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Alfabete, hieroglife și pictograme
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An Introduction to Japanese Calligraphy. Lower Valley Road
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