This article presents why Zhèng Qiáo understood the relation between Seo and Hwa focusing on graphonomy to raise the theory of SeoHwaDongChul. Zhāng Yàn Yuǎn (張彦遠)’s thoughts of SeoHwaDongChe (書畵同體: Calligraphy and painting are same as each other) led to the theory of SeoHwaDongChul suggested by Zhèng Qiáo in the era of Song dynasty. Zhèng Qiáo drew the meaning of DongChul of Seo and Hwa from graphonomy to develop his thoughts. The essences of his theory of SeoHwaDongChul investigated for this article are: First, YukSeo (六書: the theory of explaining about the formation of Chinese characters in six types) puts priority onto SangHyeong (象形: a type of formation of Chinese characters). He thought that YukSeo could not help putting such priority to Hyeong (形: shape) as literacy and language should be based on SangHyeong, painting. Hwa delivers Thao, and Seo and Hwa come out of same root, which itself means SeoHwaDongChul. Second, his theory of SeoHwaDongChul is based on I-Ching. In particular, his thoughts of such show that he tried to explain about the origin, usage and formation of characters through the logic of I-Ching. Third, Doh (圖: picture or figure) shows whether academic goal has been achieved. which means the role and weight of Doh are big and heavy enough to contribute to establishing structure of a country. That is, the theory of SeHwaByengYong (書畫竝用: Seo and Hwa should be used together) is more for practice than for any other else. Fourth, Zhèng Qiáo’s theory of SeoHwaDongChul and Zhāng Yàn Yuǎn’s theory of SeoHwaDongChe look accord and same with each other. Such Zhèng Qiáo’s understanding of SeoHwa raised the role value of SeoHwa to an academic position and emphasized practicality of SeoHwa in academic boundary. In conclusion, Zhèng Qiáo’s understanding that SeoHwa helps academic achievement and contribution to establishing structure of a country is an argument that SeoHwa plays the role as same as that of YukJeok (六籍: six Confucian classics) at artistry level.
{"title":"A Study on Zhèng Qiáo (鄭樵)’s Understanding of SeoHwa (書畵: Calligraphy and Painting) based on his Theory of SeoHwaDongChul (書畵同出: Calligraphy and painting are beginning from same root) in the Era of Song Dynasty","authors":"Eun-a Kim","doi":"10.19077/tsoc.2023.42.7","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.7","url":null,"abstract":"This article presents why Zhèng Qiáo understood the relation between Seo and Hwa focusing on graphonomy to raise the theory of SeoHwaDongChul. Zhāng Yàn Yuǎn (張彦遠)’s thoughts of SeoHwaDongChe (書畵同體: Calligraphy and painting are same as each other) led to the theory of SeoHwaDongChul suggested by Zhèng Qiáo in the era of Song dynasty. Zhèng Qiáo drew the meaning of DongChul of Seo and Hwa from graphonomy to develop his thoughts. The essences of his theory of SeoHwaDongChul investigated for this article are: First, YukSeo (六書: the theory of explaining about the formation of Chinese characters in six types) puts priority onto SangHyeong (象形: a type of formation of Chinese characters). He thought that YukSeo could not help putting such priority to Hyeong (形: shape) as literacy and language should be based on SangHyeong, painting. Hwa delivers Thao, and Seo and Hwa come out of same root, which itself means SeoHwaDongChul. Second, his theory of SeoHwaDongChul is based on I-Ching. \u0000In particular, his thoughts of such show that he tried to explain about the origin, usage and formation of characters through the logic of I-Ching. Third, Doh (圖: picture or figure) shows whether academic goal has been achieved. which means the role and weight of Doh are big and heavy enough to contribute to establishing structure of a country. That is, the theory of SeHwaByengYong (書畫竝用: Seo and Hwa should be used together) is more for practice than for any other else. Fourth, Zhèng Qiáo’s theory of SeoHwaDongChul and Zhāng Yàn Yuǎn’s theory of SeoHwaDongChe look accord and same with each other. Such Zhèng Qiáo’s understanding of SeoHwa raised the role value of SeoHwa to an academic position and emphasized practicality of SeoHwa in academic boundary. \u0000In conclusion, Zhèng Qiáo’s understanding that SeoHwa helps academic achievement and contribution to establishing structure of a country is an argument that SeoHwa plays the role as same as that of YukJeok (六籍: six Confucian classics) at artistry level.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129395313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-31DOI: 10.19077/tsoc.2023.42.10
Lei-Lei Liu, Xiaolei Yuan
Wu Changshuo's seal book is very different from its predecessors in the use of pen, structure, sealing, ink, writing rhythm and other techniques, successfully shaping the new face of seal writing, and achieving great achievements, the reasons behind it should be many, first of all, he absorbed the calligraphy ideas of the stele calligraphy, took the golden stone, and advocated the simple and strong artistic style. Secondly, on the basis of fully learning from famous artists such as Deng Shiru(邓石如) and Yang Yisun(杨沂孙), he took “Shiguwen”(石鼓文) as the main object, and at the same time drew on a variety of book styles, integrated multiple arts, and constantly enriched his artistic practice. Third, use a very personal writing instrument to constantly strengthen your personal style. Through decades of hard work, it finally opened up another way outside the “Er Li” seal book, creating another peak of seal book art, which had a far-reaching impact on the development of calligraphy art in later generations. 吴昌硕的篆书在用笔、结构、章法、墨法、书写节奏等技法上都迥异于前人，成功地塑造了篆书的新面貌，取得了巨大的成就，其背后的原因应该是多方面的，首先，他吸收了碑派书法的书学思想，取法金石，推崇古朴雄强的艺术风格。其次，在充分学习邓石如、杨沂孙等名家的基础上，以≪石鼓文≫为主要取法对象，同时借鉴多种书体，融合多门艺术，不断丰富自己的艺术实践。再次，采用极具个人特色的书写工具，不断强化个人风格。通过几十年的努力，最终于“二李”篆书之外另辟蹊径，创造了篆书艺术的又一座高峰，对后世书法艺术的发展产生了深远的影响。
{"title":"On Wu Changshuo's(吴昌硕) seal book creation","authors":"Lei-Lei Liu, Xiaolei Yuan","doi":"10.19077/tsoc.2023.42.10","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.10","url":null,"abstract":"Wu Changshuo's seal book is very different from its predecessors in the use of pen, structure, sealing, ink, writing rhythm and other techniques, successfully shaping the new face of seal writing, and achieving great achievements, the reasons behind it should be many, first of all, he absorbed the calligraphy ideas of the stele calligraphy, took the golden stone, and advocated the simple and strong artistic style. Secondly, on the basis of fully learning from famous artists such as Deng Shiru(邓石如) and Yang Yisun(杨沂孙), he took “Shiguwen”(石鼓文) as the main object, and at the same time drew on a variety of book styles, integrated multiple arts, and constantly enriched his artistic practice. Third, use a very personal writing instrument to constantly strengthen your personal style. Through decades of hard work, it finally opened up another way outside the “Er Li” seal book, creating another peak of seal book art, which had a far-reaching impact on the development of calligraphy art in later generations. \u0000吴昌硕的篆书在用笔、结构、章法、墨法、书写节奏等技法上都迥异于前人，成功地塑造了篆书的新面貌，取得了巨大的成就，其背后的原因应该是多方面的，首先，他吸收了碑派书法的书学思想，取法金石，推崇古朴雄强的艺术风格。其次，在充分学习邓石如、杨沂孙等名家的基础上，以≪石鼓文≫为主要取法对象，同时借鉴多种书体，融合多门艺术，不断丰富自己的艺术实践。再次，采用极具个人特色的书写工具，不断强化个人风格。通过几十年的努力，最终于“二李”篆书之外另辟蹊径，创造了篆书艺术的又一座高峰，对后世书法艺术的发展产生了深远的影响。","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127767604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sojeon Son Jaehyeong(素荃 孫在馨) is a representative calligrapher in the modern and contemporary Korean calligraphy field in the 20th century, as well as an educator, politician, collector, connoisseur, art administrator, etc. The contents of the was composed on August 29, 1956, by Nosan Lee Eunsang in Hangeul mixed with classical Chinese characters, and Son Jaehyeong inscribed it with a brush. Son Jaehyeong's creativity in Hangeul calligraphy lies in applying the formativeness and calligraphic method of seal script, clerical script, regular script of the Tang Dynasty, and the school of learning from the stela of the Qing Dynasty to Hangeul calligraphy works. Son Jaehyeong searched for a creative way to apply the classical Chinese calligraphy style to the Hangeul calligraphy style, and his contribution to the history of modern and contemporary Korean calligraphy lies in that he opened up his world of calligraphy creation by breaking away from the level of imitating the old blindly. The character structure and disposition of the are the best examples of this. It is a work that shows creativity that goes beyond conventional forms in the history of modern and contemporary Korean calligraphy. It also contains the beauty of Son Jaehyeong's unique modern formative sense, which he achieved through research on the traditional Hangeul calligraphy and obsession with the ancient methods of classical Chinese calligraphy. This beauty emerges concretely in terms of the formative features of taking the abnormality as the rightness(以奇爲正) and making the whole harmonious through the response of front and back strokes(救應圓融). The formative characteristics of taking the abnormality as the rightness developed into the aesthetics of seal script, clerical script, and regular script expressed in the character structure and disposition, and the features of making the whole harmonious through the response of before and after strokes transformed the formativeness and strokes of the ancient Hangeul calligraphic style into work with his individuality. In conclusion, I found that Son Jaehyeong's contains the spirit of calligraphy aimed at creative fusion based on the aesthetic view of fusing various calligraphic styles.
Sojeon Son Jaehyeong()是20世纪韩国现当代书法界的代表书法家，同时也是教育家、政治家、收藏家、鉴赏家、艺术管理者等。该内容是1956年8月29日，罗山·李恩相用韩文和文言文混合而成，孙在衡用毛笔题写的。孙在衡在韩文书法方面的创造性在于，将唐代篆书、隶书、楷书、清代碑学的风格和书法方法运用到韩文书法作品中。孙在衡寻找了将中国古典书法风格运用到韩文书法风格的创造性方法，他对韩国近现代书法史的贡献在于，他打破了盲目模仿的水平，开辟了自己的书法创作世界。他们的性格结构和性格就是最好的例子。在韩国近现代史上，这是一件超越常规的创造性作品。它还包含了孙在衡通过对传统韩文书法的研究和对中国古典书法的古老方法的痴迷而获得的独特的现代形式感的美。这种美具体表现在以反常为正，通过前后笔触的呼应使整体和谐的造型特征上。以反常为正的形制特征发展为篆书、隶书、楷书在文字结构和性格表现上的美学，通过前后笔画的反应使整体和谐的特征，使古韩文书法风格的形制和笔画具有个性。综上所述，我发现孙在衡的书法包含了以融合各种书法风格的审美观为基础的以创造性融合为目的的书法精神。
{"title":"A Study on the Formative Characteristics of the written by Sojeon Son Jaehyeong","authors":"Gye-soon Hyung","doi":"10.19077/tsoc.2023.42.3","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.3","url":null,"abstract":"Sojeon Son Jaehyeong(素荃 孫在馨) is a representative calligrapher in the modern and contemporary Korean calligraphy field in the 20th century, as well as an educator, politician, collector, connoisseur, art administrator, etc. The contents of the was composed on August 29, 1956, by Nosan Lee Eunsang in Hangeul mixed with classical Chinese characters, and Son Jaehyeong inscribed it with a brush. Son Jaehyeong's creativity in Hangeul calligraphy lies in applying the formativeness and calligraphic method of seal script, clerical script, regular script of the Tang Dynasty, and the school of learning from the stela of the Qing Dynasty to Hangeul calligraphy works. Son Jaehyeong searched for a creative way to apply the classical Chinese calligraphy style to the Hangeul calligraphy style, and his contribution to the history of modern and contemporary Korean calligraphy lies in that he opened up his world of calligraphy creation by breaking away from the level of imitating the old blindly. The character structure and disposition of the are the best examples of this. It is a work that shows creativity that goes beyond conventional forms in the history of modern and contemporary Korean calligraphy. It also contains the beauty of Son Jaehyeong's unique modern formative sense, which he achieved through research on the traditional Hangeul calligraphy and obsession with the ancient methods of classical Chinese calligraphy. This beauty emerges concretely in terms of the formative features of taking the abnormality as the rightness(以奇爲正) and making the whole harmonious through the response of front and back strokes(救應圓融). The formative characteristics of taking the abnormality as the rightness developed into the aesthetics of seal script, clerical script, and regular script expressed in the character structure and disposition, and the features of making the whole harmonious through the response of before and after strokes transformed the formativeness and strokes of the ancient Hangeul calligraphic style into work with his individuality. In conclusion, I found that Son Jaehyeong's contains the spirit of calligraphy aimed at creative fusion based on the aesthetic view of fusing various calligraphic styles.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115260755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shin Young-bok is called by various titles. They are university professors, economists, life-threatening prisoners, death row prisoners, oriental classicists, writers, essayists, thinkers, intellectuals of the times, teachers of the times, and calligraphers. In this study, 'calligrapher Shin Young-bok' was illuminated. As his various titles suggest, the thoughts that blossomed in his tumultuous life fully permeated into his writings and served as a means of communication with contemporaneous people. The reason why this was possible is that it has established itself as an art familiar to the public while renewing the aspect of an independent character art that has broken away from traditional Korean calligraphy. The calligraphy art genre, which has emerged since the mid-1990s, meshes with the social and cultural trend that values individual taste and individuality. At the center of this is Shin Young-bok's Korean calligraphy. His Korean calligraphy is not very different from the calligraphy genre we recognize as it is used in various designs such as broadcasting or movie titles, book titles, and product logos. In other words, his handwriting has no awkwardness in the modern calligraphy art culture. Accordingly, by analyzing the calligraphic expressiveness of Shin Young-bok's Korean calligraphy, it was possible to find the important value of his letter art. First, there is a formal beauty that implies individuality and emotion. Second, it belongs to an art genre that reflects the times. Third, it is a letter art that the public can get close to. As such, Shin Yeong-bok's Korean calligraphy is in a pioneering position in that it has deviated from the reproduction of traditional calligraphy and realized the formative beauty of a new typeface, and has artistic significance as a milestone in the ever-changing calligraphy art. It is clear that the current calligraphy art culture is a product of the expansion of traditional calligraphy, and it can be seen as a natural change in calligraphy art according to the needs of the times. As long as the lives of people who use letters are conducted, the direction of art to contain emotions in letters will lead the development of calligraphy art culture.
{"title":"The Calligraphic Value of Korean Calligraphy by Youngbok Shin","authors":"Yeong-Ae Lee","doi":"10.19077/tsoc.2023.42.4","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.4","url":null,"abstract":"Shin Young-bok is called by various titles. They are university professors, economists, life-threatening prisoners, death row prisoners, oriental classicists, writers, essayists, thinkers, intellectuals of the times, teachers of the times, and calligraphers. In this study, 'calligrapher Shin Young-bok' was illuminated. As his various titles suggest, the thoughts that blossomed in his tumultuous life fully permeated into his writings and served as a means of communication with contemporaneous people. The reason why this was possible is that it has established itself as an art familiar to the public while renewing the aspect of an independent character art that has broken away from traditional Korean calligraphy. \u0000The calligraphy art genre, which has emerged since the mid-1990s, meshes with the social and cultural trend that values individual taste and individuality. At the center of this is Shin Young-bok's Korean calligraphy. His Korean calligraphy is not very different from the calligraphy genre we recognize as it is used in various designs such as broadcasting or movie titles, book titles, and product logos. In other words, his handwriting has no awkwardness in the modern calligraphy art culture. Accordingly, by analyzing the calligraphic expressiveness of Shin Young-bok's Korean calligraphy, it was possible to find the important value of his letter art. First, there is a formal beauty that implies individuality and emotion. Second, it belongs to an art genre that reflects the times. Third, it is a letter art that the public can get close to. \u0000As such, Shin Yeong-bok's Korean calligraphy is in a pioneering position in that it has deviated from the reproduction of traditional calligraphy and realized the formative beauty of a new typeface, and has artistic significance as a milestone in the ever-changing calligraphy art. It is clear that the current calligraphy art culture is a product of the expansion of traditional calligraphy, and it can be seen as a natural change in calligraphy art according to the needs of the times. As long as the lives of people who use letters are conducted, the direction of art to contain emotions in letters will lead the development of calligraphy art culture.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125575725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wang Xizhi's law posts can be described as “one post, one appearance”, and “kuaixueshiqingtie” is a very special existence, revealing a kind of peace, no excitement, wind rules and regulations. Difference. “It's gratifying and stunned, one in the book”, calligraphy art is a form of art that reveals emotions. Why does this post show such a look? Let's discuss separately to seek rationally to spy the relationship between calligraphy techniques and emotions. Wang Xizhi's law posts can be described as “one post, one appearance”. Among them, “Fast Snow Shiqing Post” is a very special existence, revealing a kind of peace, no excitement, wind rules, and other laws. Huge difference. Calligraphy is an art form that expresss emotions. Han Yu has a saying: “It's gratifying and stunned, one is in the book”, why can “Fast Snow in the Snow” show this peaceful appearance. This article will use pen, structure, chapters, etc. The unique display form in the fast snowy post is discussed separately to seek rationally to spy the relationship between the form of calligraphy techniques and emotional expression. In the use of the pens, analyze the details of the collection, turning, and the weight changes, and expand the important connection of the form of the pen with the emotional performance; in the structural exposition Compared with Su Shi, Mi Yan, Wang Duo and others, the single -character structure can observe the characteristics of the stable structure in the “kuaixueshiqingtie”, which can discuss the relationship between the structure of the structure and emotion; In the discussion of the chapter research, the way to introduce axis can be revealed to the uniqueness of the seal of “kuaixueshiqingtie”, and the relationship between this method is found to form a relationship with its emotional performance. 王羲之诸法帖可谓“一帖一貌”，《快雪时晴帖》是一个非常特殊的存在，流露出一种平和自然、不激不厉、风规自远之貌，和其他法帖有很大的差异。“可喜可愕，一寓于书”，书法艺术是揭示情感的一种艺术形式，该帖为何呈现如此面貌，我们将用笔、结构、章法等在《快雪时晴帖》中的独特表现形式分开来论述，以求理性的窥探书法技法的表现和情感之间的关系。王羲之诸法帖可谓“一帖一貌”，其中《快雪时晴帖》是一个非常特殊的存在，流露出一种平和自然、不激不厉、风规自远之貌，和王羲之其他法帖有很大差异。书法是表达情感的艺术形式，韩愈有言：“可喜可愕，一寓于书”，《快雪时晴帖》为何能呈现出这种平和面貌，本文将通过用笔、结构、章法等在《快雪时晴帖》中的独特展现形式分开论述，以求理性的窥探书法技法形式和情感表达之间的关系。在用笔中将从起收笔、转折、轻重变化等细节进行分析，展开论述了用笔的形式与其情感表现的重要联系；在结构方面的论述中，将《快雪时晴帖》中的单字结构同苏轼、米芾、王铎等人对比研究，能较为直观的观察到《快雪时晴帖》中结构端稳平和的特点，进而可以论述结构构成与情感表达的关系；在对作品章法研究的探讨中，引入轴线图这一方式，可以把《快雪时晴帖》的章法独特性显现出来，找到这种章法构成与其情感表现之间的关系。
{"title":"A brief discussion on the relationship between the calm and elegant rhyme of Wang Xizhi's “kuaixueshiqingtie(快雪时晴帖)” and its calligraphy composition","authors":"Kunjin Luo, Jae-Woo Lee","doi":"10.19077/tsoc.2023.42.8","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.8","url":null,"abstract":"Wang Xizhi's law posts can be described as “one post, one appearance”, and “kuaixueshiqingtie” is a very special existence, revealing a kind of peace, no excitement, wind rules and regulations. Difference. “It's gratifying and stunned, one in the book”, calligraphy art is a form of art that reveals emotions. Why does this post show such a look? Let's discuss separately to seek rationally to spy the relationship between calligraphy techniques and emotions. Wang Xizhi's law posts can be described as “one post, one appearance”. Among them, “Fast Snow Shiqing Post” is a very special existence, revealing a kind of peace, no excitement, wind rules, and other laws. Huge difference. Calligraphy is an art form that expresss emotions. Han Yu has a saying: “It's gratifying and stunned, one is in the book”, why can “Fast Snow in the Snow” show this peaceful appearance. This article will use pen, structure, chapters, etc. The unique display form in the fast snowy post is discussed separately to seek rationally to spy the relationship between the form of calligraphy techniques and emotional expression. In the use of the pens, analyze the details of the collection, turning, and the weight changes, and expand the important connection of the form of the pen with the emotional performance; in the structural exposition Compared with Su Shi, Mi Yan, Wang Duo and others, the single -character structure can observe the characteristics of the stable structure in the “kuaixueshiqingtie”, which can discuss the relationship between the structure of the structure and emotion; In the discussion of the chapter research, the way to introduce axis can be revealed to the uniqueness of the seal of “kuaixueshiqingtie”, and the relationship between this method is found to form a relationship with its emotional performance. \u0000王羲之诸法帖可谓“一帖一貌”，《快雪时晴帖》是一个非常特殊的存在，流露出一种平和自然、不激不厉、风规自远之貌，和其他法帖有很大的差异。“可喜可愕，一寓于书”，书法艺术是揭示情感的一种艺术形式，该帖为何呈现如此面貌，我们将用笔、结构、章法等在《快雪时晴帖》中的独特表现形式分开来论述，以求理性的窥探书法技法的表现和情感之间的关系。王羲之诸法帖可谓“一帖一貌”，其中《快雪时晴帖》是一个非常特殊的存在，流露出一种平和自然、不激不厉、风规自远之貌，和王羲之其他法帖有很大差异。书法是表达情感的艺术形式，韩愈有言：“可喜可愕，一寓于书”，《快雪时晴帖》为何能呈现出这种平和面貌，本文将通过用笔、结构、章法等在《快雪时晴帖》中的独特展现形式分开论述，以求理性的窥探书法技法形式和情感表达之间的关系。在用笔中将从起收笔、转折、轻重变化等细节进行分析，展开论述了用笔的形式与其情感表现的重要联系；在结构方面的论述中，将《快雪时晴帖》中的单字结构同苏轼、米芾、王铎等人对比研究，能较为直观的观察到《快雪时晴帖》中结构端稳平和的特点，进而可以论述结构构成与情感表达的关系；在对作品章法研究的探讨中，引入轴线图这一方式，可以把《快雪时晴帖》的章法独特性显现出来，找到这种章法构成与其情感表现之间的关系。","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125739750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study focuses on word and image in Chinese avant-garde art in the 1980s. It focuses on the works of Gu Wenda, Wu Shanzhuan, and Xu Bing. It investigates the significance of their anti-art practice activities in China's political, social, and cultural background in the 1980s. It examines what their activities mean in the history of modern Chinese art. After the end of the Cultural Revolution, a large number of Western ideas flocked to China in the 1980s with reform and opening, and discussions on humanities were held with unprecedented personnel. After the end of the Cultural Revolution, modern artists in China began to accept modern and contemporary Western art from the post-revolution period, and the 85 New Art Movement took place in the mid-1980s, led by young young artists. Artists who participated in the 85 New Wave, China's first modern art movement, organized and worked as an organization and indirectly encountered Western contemporary art and philosophy through books. Their activities contributed to the expansion of Chinese avant-garde art into the nationwide avant-garde movement. The movement contributed to hosting the Chinese Contemporary Art Exhibition in February 1989. Although the exhibition ended ostensibly in failure, the artists who participated in the planning and exhibition later went abroad to study or defect to promote China's visual culture and modern art. In particular, Gu Wenda, Wu Shanzhuan, and Xu Bing. who participated in the 85 new wave, earlier modified, reconstructed, and studied Chinese characters and calligraphy to build their own art world. The purpose of this study is not to honor or criticize the achievements of the three artists' current progressive works. Instead, by looking at examples of works at the beginning of Chinese avant-garde art in the 1980s, we have the opportunity to think about China's historical background and the role of writing art in China's reality in the 1980s.
{"title":"A Study on the Application and Analysis of Chinese Characters and Calligraphy in Avant-Garde Art in China 1980’s - Focusing on Gu Wenda,Wu Shanzhuan , and Xu Bing","authors":"H. Sur","doi":"10.19077/tsoc.2023.42.6","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.6","url":null,"abstract":"This study focuses on word and image in Chinese avant-garde art in the 1980s. It focuses on the works of Gu Wenda, Wu Shanzhuan, and Xu Bing. It investigates the significance of their anti-art practice activities in China's political, social, and cultural background in the 1980s. It examines what their activities mean in the history of modern Chinese art. After the end of the Cultural Revolution, a large number of Western ideas flocked to China in the 1980s with reform and opening, and discussions on humanities were held with unprecedented personnel. After the end of the Cultural Revolution, modern artists in China began to accept modern and contemporary Western art from the post-revolution period, and the 85 New Art Movement took place in the mid-1980s, led by young young artists. Artists who participated in the 85 New Wave, China's first modern art movement, organized and worked as an organization and indirectly encountered Western contemporary art and philosophy through books. Their activities contributed to the expansion of Chinese avant-garde art into the nationwide avant-garde movement. The movement contributed to hosting the Chinese Contemporary Art Exhibition in February 1989. Although the exhibition ended ostensibly in failure, the artists who participated in the planning and exhibition later went abroad to study or defect to promote China's visual culture and modern art. In particular, Gu Wenda, Wu Shanzhuan, and Xu Bing. who participated in the 85 new wave, earlier modified, reconstructed, and studied Chinese characters and calligraphy to build their own art world. The purpose of this study is not to honor or criticize the achievements of the three artists' current progressive works. Instead, by looking at examples of works at the beginning of Chinese avant-garde art in the 1980s, we have the opportunity to think about China's historical background and the role of writing art in China's reality in the 1980s.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122608768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of this study is the published Hangeul documents in the 18th century of the late Joseon Dynasty. Its purpose is to trace and inspect the process of change of Hangeul scripts in documents, reveal its aesthetic characteristics, and examine the value that can affect the creation of Hangeul calligraphy and modern Korean life. Among the Hangeul documents published by government offices and the private sector in the 18th century, I selected 60 types of Hangeul documents with excellent calligraphic scripts, high readability, and clear bibliographical information and studied them. The scripts of the published Hangeul documents in the 18th century are flexible in strokes and shapes and appear in various ways depending on the printing method, such as woodblock, wooden type, and metal type. In particular, Oryunhaengsildo(1797), which was printed in an organized wooden type, shows the settled appearance of Hangeul characters in the 18th century in terms of the balance and stability of calligraphic scripts. On the other hand, in terms of content, the published Hangeul documents in the 18th century reflect the trends and demands of the times in various ways, such as Yuneum Eonhae(the king’s word with Hangeul annotation), edification books, and foreign language learning books. The characteristics of the published Hangeul documents during this period and their significance in calligraphy history are as follows. 1. In the early 18th century, Hangeul literature for edifying people was mainly published. In the later period, Hangeul literature on history, foreign languages, literature, and medicine reflecting changes throughout society, politics, and economy was published, and there was much of Hangeul literature related to foreign language education, such as Qing, Mongolian, Wae(Japanese), and Manchurian. 2. The Hangeul documents in the 18th century printed by the king’s order mainly used Musinja(metal type cast in 1668). The appearance of the characters is long and rigid, but the woodblock print of the central government edition led by the state is close to the elegant handwriting. In the latter years, it begins to change into the manuscript form of court-style calligraphic scripts. 3. Books on military science were published in the local government offices, and most medical books were published by the central government. 4. I could find the characteristics of calligraphy history that the Dodum style(block print style of calligraphy) in the early days of Hangeul creation changed and settled down as the Batang style(manuscript style of calligraphy).
{"title":"The Characteristics of Calligraphic Script of Published Hangeul Documents in the 18th Century of the Joseon Dynasty and their Significance in Calligraphy History","authors":"Jung-sook Park","doi":"10.19077/tsoc.2023.42.1","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.1","url":null,"abstract":"The subject of this study is the published Hangeul documents in the 18th century of the late Joseon Dynasty. Its purpose is to trace and inspect the process of change of Hangeul scripts in documents, reveal its aesthetic characteristics, and examine the value that can affect the creation of Hangeul calligraphy and modern Korean life. Among the Hangeul documents published by government offices and the private sector in the 18th century, I selected 60 types of Hangeul documents with excellent calligraphic scripts, high readability, and clear bibliographical information and studied them. \u0000The scripts of the published Hangeul documents in the 18th century are flexible in strokes and shapes and appear in various ways depending on the printing method, such as woodblock, wooden type, and metal type. In particular, Oryunhaengsildo(1797), which was printed in an organized wooden type, shows the settled appearance of Hangeul characters in the 18th century in terms of the balance and stability of calligraphic scripts. On the other hand, in terms of content, the published Hangeul documents in the 18th century reflect the trends and demands of the times in various ways, such as Yuneum Eonhae(the king’s word with Hangeul annotation), edification books, and foreign language learning books. The characteristics of the published Hangeul documents during this period and their significance in calligraphy history are as follows. \u00001. In the early 18th century, Hangeul literature for edifying people was mainly published. In the later period, Hangeul literature on history, foreign languages, literature, and medicine reflecting changes throughout society, politics, and economy was published, and there was much of Hangeul literature related to foreign language education, such as Qing, Mongolian, Wae(Japanese), and Manchurian. \u00002. The Hangeul documents in the 18th century printed by the king’s order mainly used Musinja(metal type cast in 1668). The appearance of the characters is long and rigid, but the woodblock print of the central government edition led by the state is close to the elegant handwriting. In the latter years, it begins to change into the manuscript form of court-style calligraphic scripts. \u00003. Books on military science were published in the local government offices, and most medical books were published by the central government. \u00004. I could find the characteristics of calligraphy history that the Dodum style(block print style of calligraphy) in the early days of Hangeul creation changed and settled down as the Batang style(manuscript style of calligraphy).","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130860630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study examines the etymology of the concept of ”beauty“ to understand the nature of it, followed by the exploration on the new context and value of beauty based on literary materials that examines oriental aesthetic consciousness. Oriental aesthetic consciousness has shifted from the Yin-Yang and the Five Elements theory of the Spring and Autumn period through Taoism and esthetical awareness of Confucianism, each representing art spirit and artification of human life, then to the 'Yi Jing psychology' which emphasizes subjectivity, desire, and pleasure. However, in the East, aesthetic pleasure was not perceived to originate from phenomena and forms. This was because the Holism perspective, which identifies the world as a whole, pursued after the invisible power 'Tao', that is, the essence of all forms and phenomena. In Confucianism, aesthetic consciousness was developed from a social and ethical perspective, and in Taoist philosophy, it was promoted from a naturalistic perspective through psychology and artistry. For this reason, Confucianism saw beauty in the essence of sublime human beings, focusing on the fundamental values of love of “benevolence” and “goodness”. And in Taoism, it aims for a more fundamental “Great beauty(大美)” and sees beauty in the world of the Tao, which is hidden behind all creations. In both Confucianism and Taoism, ‘Mi[beauty, 美]’ denied its relativity to 'Chu[ugliness, 醜]' in the phenomenon world and emphasized the vitality of the universe, and since then, it has tried to find out the reality of beauty by throwing aesthetic propositions such as ‘Ui[意]’, ‘Sang[象]’, and ‘Gyeong[境]’. Everything in aesthetic consciousness is the manifestation of the mind that perceives, and the body of existence is only made up by the mind. Beauty is only one's own philosophical and aesthetic tendency created in the course of life, and it is the creative value of life given therefrom.
{"title":"The Nature of Beauty: Focusing on the aesthetic consciousness of Taoism","authors":"Sun-Woo Lee","doi":"10.19077/tsoc.2023.42.5","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.5","url":null,"abstract":"This study examines the etymology of the concept of ”beauty“ to understand the nature of it, followed by the exploration on the new context and value of beauty based on literary materials that examines oriental aesthetic consciousness. \u0000Oriental aesthetic consciousness has shifted from the Yin-Yang and the Five Elements theory of the Spring and Autumn period through Taoism and esthetical awareness of Confucianism, each representing art spirit and artification of human life, then to the 'Yi Jing psychology' which emphasizes subjectivity, desire, and pleasure. However, in the East, aesthetic pleasure was not perceived to originate from phenomena and forms. This was because the Holism perspective, which identifies the world as a whole, pursued after the invisible power 'Tao', that is, the essence of all forms and phenomena. In Confucianism, aesthetic consciousness was developed from a social and ethical perspective, and in Taoist philosophy, it was promoted from a naturalistic perspective through psychology and artistry. For this reason, Confucianism saw beauty in the essence of sublime human beings, focusing on the fundamental values of love of “benevolence” and “goodness”. And in Taoism, it aims for a more fundamental “Great beauty(大美)” and sees beauty in the world of the Tao, which is hidden behind all creations. In both Confucianism and Taoism, ‘Mi[beauty, 美]’ denied its relativity to 'Chu[ugliness, 醜]' in the phenomenon world and emphasized the vitality of the universe, and since then, it has tried to find out the reality of beauty by throwing aesthetic propositions such as ‘Ui[意]’, ‘Sang[象]’, and ‘Gyeong[境]’. \u0000Everything in aesthetic consciousness is the manifestation of the mind that perceives, and the body of existence is only made up by the mind. Beauty is only one's own philosophical and aesthetic tendency created in the course of life, and it is the creative value of life given therefrom.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"146 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123370346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-31DOI: 10.19077/tsoc.2023.42.12
Guiying Chen
Calligraphy education is an important part of compulsory education. At present, there are some practical problems in calligraphy education, such as poor writing ability and insufficient aesthetic education of calligraphy.This paper mainly studies the current situation of calligraphy education, the commonality and difference between calligraphy education and calligraphy art education, the Outline of Calligraphy Education in Primary and Secondary Schools and the students' learning needs.The key point is that calligraphy art education and writing education are different. Hard pen writing should aim at standardization, beauty and practicality.The conclusion can be used as a reference for calligraphy education in the current compulsory education stage.
{"title":"On Calligraphy Education in Compulsory Education Stage from the Perspective of Calligraphy Aesthetic Education","authors":"Guiying Chen","doi":"10.19077/tsoc.2023.42.12","DOIUrl":"https://doi.org/10.19077/tsoc.2023.42.12","url":null,"abstract":"Calligraphy education is an important part of compulsory education. At present, there are some practical problems in calligraphy education, such as poor writing ability and insufficient aesthetic education of calligraphy.This paper mainly studies the current situation of calligraphy education, the commonality and difference between calligraphy education and calligraphy art education, the Outline of Calligraphy Education in Primary and Secondary Schools and the students' learning needs.The key point is that calligraphy art education and writing education are different. Hard pen writing should aim at standardization, beauty and practicality.The conclusion can be used as a reference for calligraphy education in the current compulsory education stage.","PeriodicalId":103412,"journal":{"name":"The Korean Society of Calligraphy","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124919657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-31DOI: 10.19077/tsoc.2023.42.11
Jing Ting
The topic of modern calligraphy has been a heated topic of discussion in recent years. Modern calligraphy goes against the traditional aesthetic of calligraphy and is seen as simply copying Western abstract art theory. There are many opposing views that claim modern calligraphy is not true calligraphy. However, modern calligraphy is not only calligraphy, but also a highly artistic form of calligraphy. Modern calligraphy is rooted in tradition and not simply copying Western art theory and forcing it into calligraphy. Calligraphers have developed a unique artistic language through folk calligraphy. This article focuses on the study and discussion of the view that modern calligraphy is the inheritance and innovation of the writing nature and the principle of dialectical unity in traditional calligraphy. The practice achievements of modern calligraphy are analyzed from two aspects: ink art and calligraphy art. The chapter on ink art mainly refers to Western painters who are influenced by traditional Eastern ink art elements and embody them in their works. The chapter on calligraphy art analyzes and demonstrates the innovations of modern calligraphy from two aspects: spatial art practice and writing art practice. By analyzing innovative modern calligraphy works, the artistic features of exaggerated letterforms, expressive self-spirit, and the expressive process of writing are revealed. The research concludes by recognizing the development direction and significance of modern calligraphy. 关于现代书法，是近些年一直讨论非常火热的话题。现代书法违背了传统书法的审美观，现代书法完全照搬西方的抽象画艺术理论，现代书法不是书法等等反对观点层出不穷。现代书法不仅是书法，而且是艺术性较高的书法。现代书法植根于传统，并不是完全照搬西方艺术理论，生搬硬套在书法上，书家们通过民间书法，生发出独特艺术语言的书法风格。本文立足于现代书法是对传统书法书写性与对立统一规律的继承与创新这一观点展开研究与论述，从水墨艺术和文字艺术两方面分析现代书法的实践成果，水墨艺术这一章节主要是指受东方的传统水墨艺术元素影响的西方画家在作品中，对东方水墨元素的体现；文字艺术这一章节从空间艺术实践和书写艺术实践两个方面分析论证现代书法的创新之处，通过创新的现代书法作品分析出现代书法的具有字形的夸张性、自我精神的表现性和书写过程的表现性的艺术特征，通过研究认识到现代书法发展方向与存在的意义。
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