Conventional Chinese calligraphy criticism displays a tendency toward what in Western art discourse is known as "formalism," an aesthetic doctrine that claims formal properties to be the proper focus of the study of art. Kang Youwei, a noted calligrapher, scholar, and political reformer, writes that "calligraphy is a study that rests on [its] configuration."1 Kang's dictum suggests two interpretations: first, practicing calligraphy should focus on its xing ; second, appreciating and evaluating calligraphy should concentrate on its xing.In classical calligraphy (...) criticism, discourses on xing inevitably involve another important aesthetic term, shi. For... (shrink)

This paper explores iconicity in the metrical structure and the cultural value of Artistic Chinese calligraphy along the lines of Carles S.Peirce’s theory. It drawsattention to the fact that there is a simple categorical correspondence between the outer forms of Artistic Chinese Calligraphy and their subject-matter, presenting it a mixed form of representation, based on resemblances but also creating its own metaphysical meanings simultaneously.

This article introduces the aesthetic significance of Chinese calligraphy, one of the highest art forms in China. It focuses on three major aesthetic concerns manifested in classical texts on this art. First, Chinese art theory stresses that the forms (xing) of successful calligraphic works are never static; rather, they should be filled with internal force (shi). Second, calligraphic creation can be understood as a psychosomatic process, that is, involving coordination between the mind and the hand. Third, appreciation of (...) Chinese calligraphy is identified with the process of reconstructing the calligrapher's creation of the work, which is analogous to Richard Wollheim's identifying criticism as retrieval. The last section examines the concept of qi and discusses what kind of aesthetic considerations encourage us to make a connection between Chinese calligraphy and abstract art. (shrink)

This paper explores iconicity in the metrical structure and the cultural value of Artistic Chinese calligraphy along the lines of Carles S.Peirce’s theory. It drawsattention to the fact that there is a simple categorical correspondence between the outer forms of Artistic Chinese Calligraphy and their subject-matter, presenting it a mixed form of representation, based on resemblances but also creating its own metaphysical meanings simultaneously.

This article examines several aspects of the appreciation of Chinese calligraphy, seeking to address two questions. First, what are the aesthetic objects in its appreciation? And second, how can we characterize the process of coming to understand calligraphic works? The answers, I contend, can be found in classical texts on this art. I hold that the aesthetic objects in the experience of a calligraphic work are twofold: the outer form and the inner qualities. This is analogous to what Noël (...) Carroll understood as the object of aesthetic experience, that is, the formal and/or expressive properties.1 I propose that calligraphy appreciation can be understood as a process of retrieval, a term I take from Richard... (shrink)

Artistic creation is never a hermetic practice within which artists create something completely new without any reference to the past. Such a past, in anglophone literary criticism and aesthetics, is often delineated by the term tradition, while, in Chinese artistic criticism, it is specified by the term gu 古. Both tradition and gu imply that artistic practices, be they in Europe or East Asia, will inevitably encounter the past. What distinguishes these two terms is the different attitudes taken by (...) Chinese and Western artists and art theorists toward the past and the different values underlying these attitudes.In Western art theory and literary criticism, the influences of the past can be roughly divided into the... (shrink)

Calligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a nation, and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition (...) to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy .. (shrink)

The Chinese Aesthetic Tradition touches on all areas of artistic activity, including poetry, painting, calligraphy, architecture, and the "art of living." Right government, the ideal human being, and the path to spiritual transcendence all come under the provenance of aesthetic thought. According to Li this was the case from early Confucian explanations of poetry as that which gives expression to intent, through Zhuangzi’s artistic depictions of the ideal personality who discerns the natural way of things and lives according to (...) it, to Chan Buddhist-inspired notions that nature and words can come together to yield insight and enlightenment. In this enduring and stimulating work, Li demonstrates conclusively the fundamental role of aesthetics in the development of the cultural and psychological structures in Chinese culture that define "humanity.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism and SpiritualismA Narrative Study of the Exploration of Self through the Practice of Chinese CalligraphyMing-Tak Hue (bio)IntroductionCalligraphy has been used to preserve significant writings and texts in a beautiful form and to make the different styles of writing enjoyable. It is not only the art of beautiful handwriting but also a cultural heritage and tradition that reflects the culture and history of a society, a race, a (...) nation, and a country. Hence, it has very great educational value. In China calligraphy is done with a brush, which was a common writing implement in ancient times. In addition to its utilitarian function, calligraphy is the most fundamental element in other types of art, such as painting and seal-carving, and is closely connected to many subject disciplines, such as literature, history, and philosophy. Brush calligraphy is still popular in Chinese society and is frequently used in different forms of publication, such as banners and newspapers; however, it is becoming more popular for these publications to be created mechanically or in electronic form with computers rather than by hand. In the context of schooling, a similar phenomenon can be seen. Many teachers in Hong Kong, as elsewhere, are concerned that fewer and fewer students have the chance to write with a pen and enjoy the beauty of writing, as the use of computers and different types of electronic devices for writing become more popular with the general public.The aim of this article is to examine the meaning of the practice of Chinese calligraphy from a cultural perspective and to draw school practitioners' attention to the importance of calligraphy education in the promotion of the whole-person growth of students and of multicultural education. Relevant literature on Western and Chinese calligraphy will be reviewed. Then an explanation will be given on how a narrative approach to the personal experience method and textual analysis were adopted for the data analysis. The article argues that calligraphy serves more than a utilitarian function. It [End Page 18] has also been used as an aesthetic practice and spiritual discipline. Hence, it is suggested that the calligraphy of brushwork is not only delightful to the eye but also an inspiration to the spirit. It is a practice of mindfulness for promoting self-reflection and self-cultivation, which leads calligraphy practitioners to reflect in their mind and heart, and so brings them into a harmonious relationship with others and the natural world.Literature ReviewIn Western societies for the last one hundred years, calligraphy has been rediscovered and relearned.1 Knight pointed out that the heritage and traditions of calligraphy have not been properly addressed and inherited in Western societies. Uyehara further suggested that calligraphy had been basically restudied and relearned in Europe and the United States up until the end of World War II. Edward Johnston (1872-1944) could be the most influential scholar who attempted to rediscover the art of Western calligraphy, lettering, and illuminating. In his study of ancient inscriptions and old manuscripts, three essential qualities of calligraphy were identified: "legibility," "beauty," and "character."2 When creating a piece of artwork, calligraphers have to ensure the legibility of the letter forms, the mastery of the skills of creating beautiful writing, and the readability of their works. As he explained,To make good letters and to arrange them well. To make good letters is not necessarily to "design" them—they have been designed long ago—but it is to take the best letters we can find, and to acquire them and make them our own. To arrange letters well requires no great art, but it requires a working knowledge of letter-forms and of the reasonable methods of grouping these forms to suit every circumstance.3Similarly, Knight highlighted the essential qualities of "legibility" and "beauty." Further, he stressed that the "creativity" of calligraphy should be imposed upon the tradition and cultural heritage of ancient manuscripts. As he said,[M]any of the conventions we use today in letter design and typography were established during the manuscript age. To know the classic work of this period is to know more about the ground we stand upon. If we grasp the... (shrink)

The cultural nature of religion is closely linked with the characteristics of religion. The interaction between religious culture and secular culture is shown as the alternation and coexistence of benign and malignant. In fact, the development of religious culture has a very close relationship with human beings in ancient times. Some activities of human worship, summarized and promoted from generation to generation, have gradually spread and developed widely among various nationalities and regions, and finally formed a series of spiritual theories (...) and behavior norms, which are more systematic. In terms of the external communication of religious culture, we should also pay attention to it. Although the help of mass media has appeared in this regard, it has had little effect. It enables the believers to change from passive to active, and understand and accept the religious culture more deeply. This paper analyzes the relationship between traditional religious culture and Chinese calligraphy art, and discusses how to better inherit Chinese calligraphy art. In religious and cultural communication, the eastward communication of calligraphy has existed in ancient times and has become mature, while the westward communication has become a focus of attention in recent years under the influence of comprehensive factors such as the national cultural development strategy and cultural soft power competition. (shrink)

The ideal Chinese thinker is a scholar‐official who is informed by a profound historical consciousness, well seasoned in the fine arts of poetry, lute and calligraphy, and deeply immersed in the daily routine of government. If philosophy is loosely defined as disciplined reflection on insights, Chinese philosophy is distinguished in its commitment to and observation of the human condition. It is a disciplined engaged reflection with insights derived primarily from practical living. The Chinese thinker, unlike the Greek (...) philosopher, the Hebrew prophet, the Indian guru, the Christian priest, or the Buddhist monk, is engaged in society, involved in politics, and dedicated to the spiritual transformation of the world from within. (shrink)

This book presents the foundations of classical Chinese aesthetic discourse--roughly from the Bronze Age to the early Middle Ages--with the following animating questions: What is art? Why do we produce it? How do we judge it? The arts that garnered the most theoretical attention during this time period were music, poetry, calligraphy, and painting, and the book considers the reasons why these four were privileged. Whereas modern artists most likely consider themselves musicians or poets or calligraphers or painters or (...) sculptors or architects, the pre-modern authors who produced the literature that established Chinese aesthetics prided themselves on being wenren, "cultured people," conversant with all forms of art and learning. Other comparisons with Western theories and works of art are presented at due junctures. Key Features Addresses Chinese aesthetic discourse on its own terms Provides comparisons of key concepts and theories with examples from Western sources Includes more coverage of primary sources than any other English-language book on the subject Each chapter opens with a helpful summary, highlighting the chapter's key themes. (shrink)

Writing, or calligraphy, in China is strongly influenced by ancient techniques of making art. Chinese characters have evolved from the patterns of bronze drawings, and China’s earliest hieroglyphs usually retain the traces of their origin in paintings. These paintings usually recorded daily life, and the related Chinese characters have evolved from these with general, simplified and abstract features. The composition that makes Chinese characters is a manifestation of ancient Chinese philosophy, of which Confucianism, Taoism and Buddhism (...) are the three key strands. They have affected Chinese culture and aesthetics in all dynasties. Chinese philosophy emphasizes the integration of individuals in their surrounding environment. The art of ancient China consequently combines skills that relate to the artificial, or constructed, and to natural patterns. Chinese characters make a perfect example of this. The article/presentation will outline the research that I have so far undertaken on the relation between Chinese calligraphy and architectural space, between writing and constructing environments. It will also present some experimental design research that aims at developing from the above-mentioned basic research new architectural typologies that are contemporary, resonant and sensitive to the Chinese context. (shrink)

For anyone working in aesthetics interested in understanding the richness of the Chinese aesthetic tradition this handbook is the place to start. Comprised of general introductory overviews, critical reflections and contextual analysis, it covers everything from the origins of aesthetics in China to the role of aesthetics in philosophy today. Beginning in early China (1st millennium BCE), it traces the Chinese aesthetic tradition, exploring the import of the term aesthetics into Chinese thought via Japan around the end (...) of the 19th century. It looks back to early practices of art and craftsmanship, showing how the history of Chinese thought provides a multitude of artifacts and texts that give rise to a wide range of aesthetic creations and notions. Introducing various perspectives on traditional arts in China, including painting, ceramics, calligraphy, poetry, music and theatre, it explores those aesthetic traditions not included in "canonic" art forms, such as martial arts, rock gardening, and ritual performance. Written by Chinese, European, and American theoreticians and practitioners, this authoritative research resource enhances contemporary aesthetics by revealing the possibilities of a Chinese philosophy of art. (shrink)

Grounded in the use of the visual, Chinese thought and language operate within a wide spectrum that includes calligraphy, poetry, literature, painting, and garden-landscapes. In languages of phonetic signifiers, the spectrum is deliberately controlled to be narrower, excluding the visual from language and delegating it to iconology. These linguistic-cultural strategies have an ancient past and produce far-reaching consequences in thought and artefacts, with garden-landscapes being one of the most substantial outcomes. Garden-landscapes are China’s equivalent to Greek architecture, leading us (...) to both a repositioning of Chinese thought and a new framework of architecture. In this sense, the city, serving the function of thought in the expanded medium of conceptual and material units of meanings (figures), incorporates things into intellectual orders. This is perhaps the most important feature of Chinese thought and one that is the first to be obscured when it is rendered in scholarship in Indo-European languages. (shrink)

Since it was first published in Chinese in 1981, The Path of Beauty has been read widely and translated into several languages, becoming a classic in the study of Chinese aesthetics. The author, a noted philosopher and aesthetician, draws on examples of sculpture, painting, calligraphy, and poetry, among other sources, from throughout China's history to build a cogent and engaging argument concerning the nature of Chinese artistic values. While providing an historical overview of Chinese art from (...) antiquity to modern times, he examines as well the evolution of the sociological, psychological, philosophical, and spiritual underpinnings of Chinese culture. (shrink)

In ancient Chinese philosophy, yi 意 means both "intention" and "idea," which means, according to Edmund Ryden, that it can be voluntative or cognitive.1 As a widely used aesthetic category, yi has multiple dimensions in Chinese art theory. Stephen Owen, for example, summarized several common usages of yi in literary criticism: yi as "the clever interpretation of some material," as the act of giving relation to the sensory data, as "intention" or "will," and as "the way someone thinks (...) of things."2 In the area of Chinese calligraphy criticism, there are more than twenty aesthetic categories that contain the word yi, such as youyi 有意, wuyi 無意 (not being... (shrink)

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes (...) toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

This essay represents a reflection on the nature of shufa, the Chinese “art of writing,” and its ontological grounding as a continuous, “durational transcription,” of an inscriptional event, producing a phenomenology of “viewing.” This distinguishes it from ordinary writing (xiezi) in which attention is focused on the lexical meaning of the written characters (i.e., an experience of “reading”). Viewing a calligraphic inscription actually unfolding in time (i.e., as a dynamical structure or “temporal object event”), however, raises an interesting theoretical (...) question concerning the two complementary aspects of temporal consciousness of calligraphy as both duration and unity. This will be addressed in terms of recent discussions of a dynamical approach to Edmund Husserl’s theory of time consciousness. (shrink)

The purpose of this study was to examine the effect of group art therapy using traditional Chinese materials on improving the self-efficacy and social function of individuals diagnosed with schizophrenia. In China, little research has been conducted on patients to measure the effectiveness of group art therapy, especially using traditional Chinese materials. To address this research gap, 104 individuals diagnosed with schizophrenia were tested in a group art therapy program that included 30 treatment sessions and used a wide (...) variety of materials, including traditional Chinese materials, such as Chinese calligraphy, traditional Chinese painting, Chinese embroidery, and Chinese beads. The effect of art therapy was analyzed using the General Self-Efficacy Scale and Scale of Social Skills for Psychiatric Inpatients. This study demonstrates that group art therapy using traditional Chinese materials can improve self-efficacy and social function, reducing social and life function problems, and promote the recovery of individuals diagnosed with schizophrenia. (shrink)

Die Studie betritt und erschliesst sowohl in ihrem Gegenstandsbereich als auch in methodologischer Hinsicht literaturwissenschaftliches Neuland. Vor dem Hintergrund der Auseinandersetzung deutschsprachiger Schriftsteller mit den für sie unlesbaren chinesischen Schriftzeichen entwickelt sie den Begriff der 'ästhetischen Resonanz' und erforscht die Präsenz und Funktion chinesischer Schriftzeichen in der deutschen Literatur- und Wissenschaftsgeschichte vom 17. bis zum 20. Jahrhundert. Sie fragt, welche Inspirationen die deutschsprachige Literatur aus der Begegnung mit diesen Schriftzeichen und poetischen Formen erhalten hat, was dann exemplarisch an Werken von (...) Ludwig August Unzer, Johann Wolfgang von Goethe, Friedrich Rückert, Yvan Goll, Albert Ehrenstein, Max Dauthendey und Max Kommerell aufgezeigt wird. Mit dem methodisch-theoretischen Ansatz der ästhetischen Resonanz wird der literaturwissenschaftlichen Forschung ein ganz neues Untersuchungsfeld eröffnet und definiert, in dem sprachliche Zeichen nicht mehr primär nach ihrem Sinngehalt oder ihrer signifikanten Struktur befragt werden, sondern nach ihrer affektiven und ästhetischen Wirkung. Für deren Analyse wird mit dem Konzept einer post-semiotischen Resonanzästhetik ein Ausgangspunkt geschaffen und zur Diskussion gestellt, von dem aus das vermeintlich Unlesbare diskursiv lesbar wird."--Publisher's description from Deutsche Nationalbibliothek. (shrink)

Qi (also spelled as Chi or Ki) is the universal energy or life force that permeates all beings. An understanding of Qi, a fundamental concept in traditional Chinese philosophy, is crucial to success in the practice of all East Asian healing and martial arts, from Tai Chi to Taekwondo and Reiki. But Qi has far broader and deeper applications: its proper understanding and utilization can bring harmony and balance to our modern lives. The power and focus it generates can (...) be put to use in the myriad tasks in which we engage daily, such as cooking, writing a book, designing a house, or preparing a business strategy. Reflections on Qi progresses from an explanation of what Qi is and how it is manifested throughout the universe to a description of how positive Qi can be introduced into the home, garden, workplace, and relationships. This is followed by an introduction to the various means of expressing and interpreting Qi in such pursuits as calligraphy, gardening, painting, and music. Lavishly illustrated, this book is the perfect reference for anyone interested in Eastern thought and wanting to incorporate its key beneficial elements into a Western lifestyle. (shrink)

In this strikingly original contribution to our understanding of Chinese philosophy,Françle;ois Julien, a French sinologist whose work has not yet appeared in English usesthe Chinese concept of shi - meaning disposition or circumstance, power or potential - as atouchstone to explore Chinese culture and to uncover the intricate and coherent structure underlyingChinese modes of thinking.A Hegelian prejudice still haunts studies of ancient Chinese civilization:Chinese thought, never able to evolve beyond a cosmological point of view, with (...) an indifference toany notion of telos, sought to interpret reality solely on the basis of itself. In thisgroundbreaking study, prejudices toward the simplicity and "naiveté" of Chinese thought, Hegelianand otherwise, are dismantled one by one to reveal the intricate and coherent structure underlyingChinese modes of thinking and representing reality.Jullien begins with a single Chinese term, shi,whose very ambivalence and disconcerting polysemy, on the one hand, and simple efficacy, on theother, defy the order of a concept. Yet shi insinuates itself into the ordering and conditioning ofreality in all its manifold and complex representations. Because shi neither gave rise to anycoherent, general analysis nor figured as one of the major concepts among Chinese thinkers, Jullienfollows its appearance from one field to another: from military strategy to politics; from theaesthetics of calligraphy and painting to the theory of literature; and from reflection on historyto "first philosophy."At the point where these various domains intersect, a fundamental intuitionassumed self-evident for centuries emerges, namely, that reality - every kind of reality - may beperceived as a particular deployment or arrangement of things to be relied upon and worked to one'sadvantage. Art or wisdom, as conceived by the Chinese, lies in strategically exploiting thepropensity that emanates from this particular configuration of reality. (shrink)

Editor’s: Around the 300th anniversary of Zheng Banqiao, many articles appeared dealing with the artist Zheng Banqiao and his works of art. Some of these dealt specifically with his calligraphy Nande hutu. Most of these articles address its philosophical meaning or socio-historical context. In this essay, author Wang Zisong elaborates on how the Chinese philosophy of muddled, synthetic thinking relates to Aristotelian, analytical thinking. The author first reflects on the origins of Western analytical, logical and categorical thinking, and argues (...) that “all cultures, philosophies, and schools are both analytical and synthetic.” What follows is a discussion of the weaknesses and strengths of analytical and synthetic reasoning. Subjects that are critically approached in this respect are the popularity of Nande hutu as a slick and too easy-going philosophy of life. In his criticism he also addresses the leaders and officials of that period. Ultimately, h... (shrink)

The most translated book in the world after the Bible, the Tao Te Ching, or "Book of the Way," is a guide to cultivating a life of peace, serenity, and compassion. Through aphorisms and parable, it leads readers toward the Tao, or the "Way": harmony with the life force of the universe. Traditionally attributed to Lao Tzu, a Chinese philosopher who was a contemporary of Confucius, it is the essential text of Taoism, one of the three great religions of (...) ancient China. As one of the world's great works of wisdom literature, it still has much to teach us today, offering a practical model based on modesty and self-restraint for living a balanced existence and for opening your mind, freeing your thoughts, and attaining enlightenment and self-awareness. With its emphasis on calm, simplicity, purity, and non-action, it provides a time-tested refuge from the busyness of modern life. This new translation seeks to understand the Tao Te Ching as a guide to everyday living and encourages a slow, meditative reading experience. The Tao Te Ching's eighty-one brief chapters are accompanied by illuminating commentary, interpretation, poems, and testimonials by the likes of Margaret Mead, Ursula K. Le Guin, and Dr. Wayne W. Dyer. Specially commissioned calligraphy for more than two hundred Chinese characters illustrates the book's essential themes. (shrink)

This article critically investigates the potential confrontation that exists between mixed reality in Human-Computer Interaction (HCI) artworks that are, respectively, based on the concepts of phenomenology and Chinese Qi. My proposal is exemplified by the Industrial Technology Research Institute of Taiwan’s Flow of Qi (2007), which uses ultra wide band technology that instantly transforms the data of a pair of participants’ real-time breath into the replication of calligraphy masterworks projected onto the floor in front of the participants. To explore (...) how efficiency of breath constitutes mixed reality in Flow of Qi, I draw a parallel between Qi, which is embodied as breath, and agency whereby, as discussed by Murray and Hansen, the notion of the perception-action relationship is emphasized. However, compared to agency, Qi is characterized as evoking ‘the unity of the cosmos with humanity’ (t’ien-jen ho-yi) because the participants are involved in a process wherein the masters used their brushstrokes to grasp the respiration of the cosmos. Therefore, employing the concepts of Chinese Qi draws out an anthropocosmic vision of mixed reality that links participants with the cosmos and manifests a Qi world-view through digital media. (shrink)

Explains how to develop one's Ki, or vital energy, through calligraphy, martial arts, massage, Noh drama, the tea ceremony, and the game of Go, and discusses self-defence and personal effectiveness.

The paper endeavors to provide a perspective on aesthetics that proceeds from the original Greek meaning of “aesthetics” as “what is perceived by the senses.” It then introduces a potential dialogue between Confucian and Gadamerian hermeneutic philosophical insights on the importance of “making more sense,” i.e., developing a particular human ethico-aesthetic “sense” for the continuous generation of harmonious communities by partly fusing the two schools of thought. Since the focus of the paper is on early Confucian philosophy, the paper also (...) discusses the relational ontology of classical Chinese philosophy, Confucian considerations of learning, cultivation, emotions and humanization, but also touches upon broader East Asian philosophical notions of “everyday aesthetics,” i.e. how aesthetics is integrated into everyday life, for instance in ritual, dance, calligraphy and other fields that are too often set aside as belonging to a separate category of “art”. (shrink)

In the treatise On the Spiritual in Art, Wassily Kandinsky divided the creation of art into three categories, the ultimate one of which is called Composition. In this article, I argue that Kandinsky’s classification is similar and comparable to the principle of semi-abstract Chinese freehand brushwork summarized by Zheng Xie in the Inscriptions on Painting - Bamboo. In an attempt to clarify the core of Kandinsky’s strategy of abstraction, i.e. the transformation from painting to writing, I then connect it (...) with the evolution of Chinese characters and the aesthetic theory of Chinese calligraphy, which is also in accord with Kandinsky’s idea of internal necessity and the spirit in art. Through this aesthetic dialogue across time and space, this article aims to bring a new dimension to the understanding of Western abstractionism from the perspective of the oriental philosophy of art. (shrink)

Claude Mediavilla brings to the Greek text his training as both a painter and calligrapher, marrying modern variants of both medium and style with classical forms in a way that brings Epictetus’ words to life with beauty and startling immediacy. Calligraphy (from the Greek for "beautiful writing") is an art where word and image meet, where the artist strives to give visual expression to the meaning of words in a way that transcends the text while remaining completely faithful to it. (...) It is a discipline that has been invested with spiritual significance wherever it has arisen--and it has arisen throughout the world in every age, in virtually every language, culture, and religion. The Shambhala Calligraphy series is a collection of books devoted to contemporary expressions of this "art of the word," featuring contemporary calligraphers' striking new interpretations of texts that have been traditional subjects for calligraphic interpretation. Whether in Arabic, Greek, Hebrew, Latin, or Chinese pictographs, the characters, words, and sentences are brought to life anew here in a choreography of mind, hand, and heart by which letter and spirit fuse in a single stroke. (shrink)

Korean art and music have a long history, but aesthetic research on them has only been around for a little over a hundred years. Critiques and discourses on traditional arts such as poetry, calligraphy, and painting can be traced back to the Joseon or even Goryeo dynasties, but the modern discussion on the common features of Korean aesthetics was conducted much later than that in Western Europe, where the field of aesthetics was established in the mid to late eighteenth century. (...) Early aestheticists who tried to explain aesthetic consciousness in Korean culture and art converged on the concept of Jayeon, which can be translated provisionally as “nature,” seemingly diverging from western aesthetics’ focus on the concept of “beauty.” Jayeon shares the same Chinese characters as ziran, an early Daoist concept, but jayeon in a Korean aesthetic context does not appear to be limited to the connotation of its Chinese origin. This article unpacks the different ways in which jayeon captures the key characteristics of Korean art and aesthetics. (shrink)

The Shuduan《書斷》 by Zhang Huaiguan of the Tang dynasty comprises classifications of calligraphy that Chinese theoreticians still refer to. This article aims at considering the functioning and efficacy of such evaluations through a study comparing this work to other treatises and, when relevant, to the European tradition. Its main objective is to examine how Chinese aesthetic theory responded to new evaluative needs that appeared during this crucial period in Chinese history. Thus, it seeks to clarify the nature (...) of the criteria adopted by Zhang Huaiguan for his gradings: are they material, ideological, aesthetic, or of another nature? (shrink)

This book offers a philosophical exploration of lines in art and culture, and traces their history from Antiquity onwards. Lines can be physical phenomena, cognitive responses to observed processes, or both at the same time. Based on this assumption, the book describes the “philosophy of lines” in art, architecture, and science. The book compares Western and Eastern traditions. It examines lines in the works of Paul Klee, Wassily Kandinsky, and Henri Michaux, as well as in Chinese and Japanese art (...) and calligraphy. Lines are not merely a matter of aesthetics but also reflect the psychological states of entire cultures. In the nineteenth century, non-Euclidean geometry sparked the phenomenon of the “self-negating line,” which influenced modern art; it also prepared the ground for virtual reality. Straight lines, distorted lines, blurred lines, hot and cold lines, dynamic lines, lines of force, virtual lines, and on and on, lines narrate the development of human civilization. (shrink)

Explore the seminal Platform Sutra, with one of the greatest living Zen masters as a guide. A lodestone of Zen Buddhism, the Platform Sutra presents the life, work, and wisdom of Eno, or Huineng, the fascinating and much-loved seventh-century Sixth Patriarch of Chinese Zen. An illiterate woodcutter who famously attained enlightenment after only hearing a single line of a sutra, and who went on to decisively upstage senior monks with a poem that demonstrated the depth and clarity of his (...) insight, his example has demonstrated to generations of students and spiritual seekers worldwide that enlightenment is attainable regardless of education or social standing. His exhortations to directly perceive one's true nature, right here and now, still reverberate in contemporary Zen. There is no bodhi tree, Nor stand of a mirror bright. Since all is void, Where can the dust alight? Shodo Harada Roshi's fresh reading of the Platform Sutra offers both the history behind the work and the lived experience of its wisdom. In a plain-English, conversational voice, Shodo Harada brings the sutra to life for his students, discussing and explaining its central points chapter by chapter and illustrating it with his own beautiful calligraphy. This is far from a collection of dry lectures; it is an essential Buddhist text brought to life. (shrink)

This paper takes an initial but significant step toward penetrating the intricate historiography of the renowned siyin half seal, which appears on 199 surviving or now-lost canonical Chinese paintings and calligraphies. Through a forensic tracking of the siyin art pieces, Ming dynasty court diaries, legal statutes, and other official seals ending in the words si and yin, I refute the dominant twentieth-century theory by arguing that this seal could not have originated from the eunuch-run Dianli jicha si in 1373–84, (...) nor could it have been used by the Ming general Xu Da on the Yuan palace collection as previously hypothesized. The alleged Dianli jicha si characters do not match the siyin seal strokes. New evidence suggests that the siyin seal came into existence after 1385, by which time the Directorate of Ceremonial had superseded the shuttered Dianli jicha si office. Instead of simply dividing the various siyin seal impressions into binary genuine/forged categories as past studies have done, I demonstrate that three types of siyin seals can be considered authentic, all of which were used by different branches of the jingli si. The fact that a half seal was employed suggests that the jingli si registry office followed the kanhe inventory system, which imposed an official seal on the seam of both an inventorying object and its complementary ledger. By deconstructing the siyin historiography, this paper raises new socio-political questions about ownership, censorship, and imperial competition over the siyin-marked art pieces. It also builds a foundation for the further investigation of the role inventory systems played in mapping, defining, and legitimizing the royal power of the Ming dynasty. (shrink)

In this strikingly original contribution to our understanding of Chinese philosophy, Françle;ois Julien, a French sinologist whose work has not yet appeared in English uses the Chinese concept of shi - meaning disposition or circumstance, power or potential - as a touchstone to explore Chinese culture and to uncover the intricate and coherent structure underlying Chinese modes of thinking.A Hegelian prejudice still haunts studies of ancient Chinese civilization: Chinese thought, never able to evolve beyond (...) a cosmological point of view, with an indifference to any notion of telos, sought to interpret reality solely on the basis of itself. In this groundbreaking study, prejudices toward the simplicity and "naiveté" of Chinese thought, Hegelian and otherwise, are dismantled one by one to reveal the intricate and coherent structure underlying Chinese modes of thinking and representing reality.Jullien begins with a single Chinese term, shi, whose very ambivalence and disconcerting polysemy, on the one hand, and simple efficacy, on the other, defy the order of a concept. Yet shi insinuates itself into the ordering and conditioning of reality in all its manifold and complex representations. Because shi neither gave rise to any coherent, general analysis nor figured as one of the major concepts among Chinese thinkers, Jullien follows its appearance from one field to another: from military strategy to politics; from the aesthetics of calligraphy and painting to the theory of literature; and from reflection on history to "first philosophy."At the point where these various domains intersect, a fundamental intuition assumed self-evident for centuries emerges, namely, that reality - every kind of reality - may be perceived as a particular deployment or arrangement of things to be relied upon and worked to one's advantage. Art or wisdom, as conceived by the Chinese, lies in strategically exploiting the propensity that emanates from this particular configuration of reality. (shrink)

In this strikingly original contribution to our understanding of Chinese philosophy, Françle;ois Julien, a French sinologist whose work has not yet appeared in English uses the Chinese concept of shi - meaning disposition or circumstance, power or potential - as a touchstone to explore Chinese culture and to uncover the intricate and coherent structure underlying Chinese modes of thinking.A Hegelian prejudice still haunts studies of ancient Chinese civilization: Chinese thought, never able to evolve beyond (...) a cosmological point of view, with an indifference to any notion of telos, sought to interpret reality solely on the basis of itself. In this groundbreaking study, prejudices toward the simplicity and "naiveté" of Chinese thought, Hegelian and otherwise, are dismantled one by one to reveal the intricate and coherent structure underlying Chinese modes of thinking and representing reality.Jullien begins with a single Chinese term, shi, whose very ambivalence and disconcerting polysemy, on the one hand, and simple efficacy, on the other, defy the order of a concept. Yet shi insinuates itself into the ordering and conditioning of reality in all its manifold and complex representations. Because shi neither gave rise to any coherent, general analysis nor figured as one of the major concepts among Chinese thinkers, Jullien follows its appearance from one field to another: from military strategy to politics; from the aesthetics of calligraphy and painting to the theory of literature; and from reflection on history to "first philosophy."At the point where these various domains intersect, a fundamental intuition assumed self-evident for centuries emerges, namely, that reality - every kind of reality - may be perceived as a particular deployment or arrangement of things to be relied upon and worked to one's advantage. Art or wisdom, as conceived by the Chinese, lies in strategically exploiting the propensity that emanates from this particular configuration of reality. (shrink)