Ioana-Ciliana Tudorică’s research while affiliated with Babeș-Bolyai University and other places

The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.

The article depicts the use of Japanese calligraphy (shodō) as a way to artistically create the logos of Japanese or Japanese-inspired products and restaurants in the food industry. Japanese calligraphy is a complex art that developed gradually, together with the writing system in Japan and, as a result, it manages to encompass both traditional elements that have remained unchanged over the course of years, as well as modern elements that reflect the calligrapher’s unique view. For this reason, shodō has been used in creating Japanese and Japanese-themed products, as means to portray tradition and authenticity within a brand. This practice is still used in the present, with more and more businesses opting for a calligraphic logo, not only in Japan, but also outside the country. This article analyses the use of shodō as means to promote and create a brand’s image, as well as the unique benefits of calligraphy. In order to better understand this phenomenon, the article ultimately assesses the logo of a Japanese restaurant situated in Romania that uses as logomark a calligraphic work created by the Romanian calligrapher Rodica Frențiu.

The Role of Myths in Japanese Calligraphy’s Interpretative Process. This article illustrates the role of myths in the interpretative process of calligraphic works. Being considerably different from Western calligraphy, Japanese calligraphy (shodō) may seem at times visually similar to abstract art. However, calligraphic works – and shodō as art – are rich in meaning and abundant of myths. Focusing on both linguistic and visual elements of calligraphy, the article depicts how myths can be identified in a calligraphic work and how they provide a better understanding of the particularities of shodō. In order to illustrate how myths uncover new layers of meaning, the article incorporates an analysis of a calligraphic work created by Rodica Frențiu, underlining the process of accessing the transcendent meaning. Keywords: shodō, Japanese calligraphy, calligraphy, cultural semiotics, Japanese studies, kanji, myth, Zen, Buddhism.

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.

Traces of Zen Buddhism Within Japanese Calligraphy – a Cultural Semiotic Perspective. This article showcases the Japanese art of calligraphy –shodō– through its close link to Zen Buddhism. The comparison between shodō and Zen spirituality and philosophy is done within the cultural semiotics framework, showcasing the common ground between the two, rather than the differences, thus revealing the meaning of shodō within the Japanese cultural context. In order to reflect this relationship, the article presents the fundamentals of shodō, its influence and role within the Japanese society, carefully building into the connection between Zen philosophy and the practices of shodō. Ultimately, the theoretical constructs are demonstrated by analyzing 3 calligraphic works created by Rodica Frențiu, pinpointing the similarities between Japanese calligraphy and Zen Buddhism. Rezumat. Urme ale budismului Zen în caligrafia japoneză – o perspectivă a semioticii culturale. Articolul reliefează caligrafia japoneză ca artă – shodō – prin legătura strânsă pe care aceasta o are cu budismul Zen. Comparația dintre shodō și religia-filozofie Zen este realizată prin prisma semioticii culturale, evidențiind elementele comune dintre cele două, mai degrabă decât ceea ce le diferențiază, arătând astfel semnificația caligrafiei în contextul cultural japonez. Pentru a putea reflecta această legătură, articolul prezintă elementele fundamentale shodō, influența acestei arte și rolul ei în societate, ajungând treptat la legătura dintre filozofia Zen și practica shodō. În cele din urmă, cadrul teoretic este demonstrat prin analiza a 3 caligrame create de Rodica Frențiu, subliniind similaritățile dintre caligrafia japoneză și budismul Zen. Cuvinte-cheie: shodō, caligrafie japoneză, Zen, budism, caligrafie, semiotică culturală, studii japoneze, kanji.