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Journal articles on the topic 'Calligraphy'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Tudorică, Ioana-Ciliana. "The Role of Myths in Japanese Calligraphy’s Interpretative Process." Studia Universitatis Babeș-Bolyai Philologia 66, no. 4 (2021): 353–66. http://dx.doi.org/10.24193/subbphilo.2021.4.22.

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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 sho

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Ali Atia Hmood. "Formal Organization in the Calligraphy Panel of the Calligrapher Hashim Muhammad Al-Baghdadi." Integrated Journal for Research in Arts and Humanities 2, no. 3 (2022): 38–47. http://dx.doi.org/10.55544/ijrah.2.3.31.

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This research study is concerned with (formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi) and the research problem was represented by a basic question: What is the formal organization in the comprehensive calligraphic painting of the calligrapher Hashem Al-Baghdadi? The research aims to study the forms used in the comprehensive painting of the calligrapher Hashem Al-Baghdadi in terms of the formal organization of the calligraphic elements and the artistic contribution by arriving at defining the characteristics of the system and the tec

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Jo, Min-hwan. "A Study on the Status of Korean Calligraphy in Toegye Yi Hwang's Calligraphy Aesthetics." Korean Society of Calligraphy 41 (September 30, 2022): 29–54. http://dx.doi.org/10.19077/tsoc.2022.41.02.

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In the history of calligraphy in the Joseon Dynasty, the 16th century is meaningful in that there were various calligraphy styles besides Wang Xizhi’s calligraphy style and Zhaomengfu’s calligraphy style. Before and after Lee Hwang was alive, there were calligraphers such as Kim Gu, Seongsuchim, Hwang Gi-ro, Yang Sa-eon, and Han Ho. Each of them unfolds a variety of calligraphy styles based on their artistry, and from the perspective of calligraphy aesthetics, it is necessary to pay attention to Lee Hwang’s calligraphy aesthetics. This is because Lee Hwang understood calligraphy in the Joseon

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Hyung, Gye-soon. "A Study on the Formative Characteristics of the <Inscription of the Monument for Lee Chungmugong’s Victory at Byeokpajin Battle> written by Sojeon Son Jaehyeong." Korean Society of Calligraphy 42 (March 31, 2023): 75–96. http://dx.doi.org/10.19077/tsoc.2023.42.3.

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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 <Inscription of the Monument for Lee Chungmugong’s Victory at Byeokpajin Battle> 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 sc

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Filonenko, Nadezhda S., and Maria S. Tretyakova. "Calligraphy of Images: Artworks by Yukei Teshima." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 164–79. http://dx.doi.org/10.21638/spbu15.2022.108.

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Postwar Japanese calligraphy has been little studied in Western art history, and in particular, there is no analysis of the work of one of the most important calligraphers of postwar Japan,Yukei Teshima (1901–1987). The relevance of this research lies in the fact that the Calligraphy of Images (Japanese “Shosho”), created by the master, is an example of building a dialogue between fundamentally different traditions of Western and Eastern art, a dialogue that allows the calligrapher to see the uniqueness of Japanese calligraphy, including its spiritual and aesthetic content. The purpose of this

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CHATTOPADHYAY, COLLETTE. "Xu Bing: calligraphy, language and interpretation." English Today 21, no. 1 (2005): 5–10. http://dx.doi.org/10.1017/s0266078405001033.

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Radical departures in English in the work of a Chinese calligrapher. Challenging conventional assumptions regarding the use of language, Xu Bing's calligraphic artworks of the early 1990s address the English-speaking world from a space deep within the bedrock of Chinese culture. Ironically extending and querying the continued relevance of the Chinese calligraphic tradition in a post-Mao, post-modern, trans-cultural era, Xu's New English Calligraphy cloaks English words in Chinese form. Exploring the communicative functions of language, these works examine the relation between linguistic intent

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Jeong, Ji-Hoon. "A Study on the Calligraphy Spirit of Palha in 『Pilgam』." Korean Society of Calligraphy 42 (March 31, 2023): 41–73. http://dx.doi.org/10.19077/tsoc.2023.42.2.

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This paper examines Pal Ha's calligraphy theory and calligraphic spirit as portrayed in his work featured in 『Pilgam』. I would like to replace the conclusion by synthesizing what was discussed in the main body. First of all, as a professional calligrapher who worked in the Daegu calligraphy circle, he learned calligraphy from Changam in his youth, and was also an early teacher of Seokjae Seo Byeong-oh who is the renovation of Daegu literary painting, and is considered the origin of Daegu calligraphy in the 20th century. Pilgam was compiled to convey to his son Gyeong-soon, and is a

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Pack, Young-suk. "A Study on Toegye’s Calligraphic Aesthetics in Dosansibigok." Korean Society of Calligraphy 46 (March 31, 2025): 85–113. https://doi.org/10.19077/tsoc.2025.46.4.

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Toegye Lee Hwang (1501-1570) is recognized as a prominent scholar-calligrapher of the Joseon Dynasty. This study focuses on the distinctive qualities of his Hangeul calligraphy found in Dosansibigok, examining it through the lenses of aesthetics and art. While there are general studies on Toegye's calligraphic aesthetics, a detailed exploration of the unique characteristics of his Hangeul calligraphy in Dosansibigok from a calligraphic aesthetic perspective has yet to be conducted. Toegye's calligraphic aesthetics values holding respectfulness(持敬) in terms of the picture of the mind, and he ap

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Tudorică, Ioana-Ciliana. "The Use of Japanese Calligraphy when Promoting Japanese Traditional Products." SAECULUM 53, no. 1 (2022): 48–59. http://dx.doi.org/10.2478/saec-2022-0005.

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Abstract 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

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Lee, Yeong-Ae. "The Calligraphic Value of Korean Calligraphy by Youngbok Shin." Korean Society of Calligraphy 42 (March 31, 2023): 97–124. http://dx.doi.org/10.19077/tsoc.2023.42.4.

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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 pu

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Mohammed Alashari, Duaa, Abd Rahman Hamzah, and Nurazmallail Marni. "The Aesthetic of Islamic Calligraphy and Ornamentation in Prophet Mosque Interior of the Calligrapher Abdullah Zuhdi (Al-Masjid An-Nabawi)." UMRAN - International Journal of Islamic and Civilizational Studies 7, no. 2 (2020): 69–80. http://dx.doi.org/10.11113/umran2020.7n2.374.

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Islamic Calligraphy and ornamentation are using to decorate mosques as well as other sacred places all over the Islamic world. This paper provides some sources of information for understanding and studying Islamic calligraphy and ornamentation in the Prophet Mosque interior (Al-Masjid An-Nabawi). Indeed, this paper aimed to highlight the formation aesthetics of calligraphy and Islamic decorations in which the aesthetic values. There are many aesthetic values of the Islamic calligraphy and ornamentation that portrayed in the Prophet Mosque interior. The Prophet Mosque has been selected in the p

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Ali abbas, Hussein. "The decorative structure in the calligraphic painting." Al-Academy, no. 107 (March 15, 2023): 129–46. http://dx.doi.org/10.35560/jcofarts107/129-146.

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The decoration structure in calligraphy painting is one of the variables that characterized the structure of the calligraphic composition due to the artistic, aesthetic and expressive properties of the letters of the Arabic calligraphy, which are represented by flexibility, compliance and the ability to form. Therefore, the researcher defined his problem by asking the following question: What is the decorative structure in the calligraphic painting? The study aimed to reveal the structure of the ornamentation in the calligraphy painting, while the researcher dealt with in the second chapter th

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Lin, Troy TianYu, Boyan Zheng, Haichuan Lin, Wen You, Kang Zhang, and Chen Liang. "Floating Strokes: A Spatial Interpretation and Modeling Method of Chinese Calligraphy." Proceedings of the ACM on Computer Graphics and Interactive Techniques 8, no. 3 (2025): 1–12. https://doi.org/10.1145/3736782.

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This paper presents a novel modeling method and a series of artworks that transform 2D Chinese calligraphy into 3D forms, offering a new perspective for understanding and appreciating traditional Chinese calligraphy beyond its conventional 2D representation. Drawing inspiration from the multidimensional nature of the calligraphic formation process and the philosophies of ancient calligraphers regarding the intrinsic depth of calligraphy, we propose a 3D modeling approach of Chinese calligraphy. This method analyzes stroke structures, incorporates volume modeling, and applies parametric optimiz

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Abbas, Nadia, and Dong Guo. "Decorative Symbolism of Islamic Motifs: Aesthetic and Cultural Analysis of Calligraphy in Mughal Textiles." European Journal of Theoretical and Applied Sciences 3, no. 3 (2025): 208–15. https://doi.org/10.59324/ejtas.2025.3(3).19.

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One of the world's most renowned periods of creative and artistic development was the Mughal Empire (1526–1857), when Islamic art flourished and was inspired by indigenous cultures. Among its artistic legacy, Islamic calligraphy on textiles is a vital form of aesthetic expression. This study explores Islamic calligraphy's decorative symbolism and aesthetic dimensions within Mughal-era textiles. Drawing upon historical references and visual analyses, the research examines how calligraphic elements were integrated with traditional Islamic motifs, such as floral and geometric patterns, to reflect

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Tarasova, Natalia. "Dostoevsky’s Calligraphy: Problems of Study." Неизвестный Достоевский 10, no. 2 (2023): 5–57. http://dx.doi.org/10.15393/j10.art.2023.6661.

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The article is devoted to the problems of studying Dostoevsky’s calligraphy. The first paragraph discusses the historical and theoretical aspects of handwriting studies, as well as its main definitions that are important for the analysis of Dostoevsky’s handwriting. When studying the author’s calligraphic sketches, the reasons and conditions for their appearance are important, including the sources that Dostoevsky could use when forming his idea of calligraphic writing and mastering the art of calligraphy. In accordance with this task, an episode of the novel “Idiot” in which Prince Myshkin ta

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Zhu, Xiaojun. "Algorithm for simulating calligrapher’s stroke features using neural networks." Molecular & Cellular Biomechanics 21, no. 3 (2024): 556. http://dx.doi.org/10.62617/mcb556.

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In the field of calligraphy art, simulating the stroke features of calligraphers has always been a challenging task. Traditional methods often rely on manually designed rules or feature extraction algorithms, which are difficult to accurately capture calligraphy details and time-consuming. This article aimed to explore a more effective method to simulate the stroke features of calligraphers using neural network technology. This article mainly explored the simulation algorithm of calligrapher stroke features based on neural networks, including calligrapher stroke feature statistics, calligraphe

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Muhammad Asad Latif. "Errors in Islamic Calligraphy: A Short Analytical and Critical Evaluation." AL-IKHSAN: Interdisciplinary Journal of Islamic Studies 2, no. 2 (2024): 165–78. http://dx.doi.org/10.61166/ikhsan.v2i2.51.

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The idea of undermining the familiar is to challenge the constants and its acknowledged limitations, in contrast to deconstruction and its destructive pursuit. It is accomplished by means of the reception process and the constraints imposed by the way a word or text is formed, as well as by the overall structural and design framework and, specifically, by Arabic calligraphy. This depends on how the dual phenomena and the content's presentation are understood and interpreted by the recipient. More precisely, its expressive phenomenology reveals its actuality; four chapters of research were devo

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Tri Budi Arti, Arum, Nabila Nasfati, and Togar Siagian. "PERBANDINGAN ANTARA JENIS KALIGRAFI KLASIK DAN KALIGRAFI KONTEMPORER." Jurnal Ekshis 2, no. 1 (2024): 38–47. http://dx.doi.org/10.59548/je.v2i1.129.

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Calligraphy is a work of Islamic writing that has something to do with the history of Islamic civilization and the glory of Islam. Besides that, the existence of calligraphy does not only have aesthetic values, but in it there are also noble or spiritual values, which is when a calligrapher makes his written work there is a relationship between him and his rabb, so that is what makes calligraphy have an implied meaning. inside it. The types of division of calligraphy are divided into two, namely types of contemporary calligraphy and classical calligraphy. Therefore the purpose of this research

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Mohammed Alashari, Duaa. "The Aesthetics Of Contemporary Arabic Calligraphy in Duaa Alashari Painting: The Story of Love." Idealogy Journal 7, no. 1 (2022): 89–93. http://dx.doi.org/10.24191/idealogy.v7i1.320.

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Arabic calligraphy is known as Islamic calligraphy. Alashari artworks introduce Arabic calligraphy as an art form to contemporary viewers and show them how to identify, understand and appreciate its varied styles and modes. This paper aims to present the aesthetics of contemporary Arabic calligraphy and the spirituality in the Alashari painting. The method used in this study is the descriptive-analytical method. The study concluded that this painting expresses movement, rhythm and dynamism as seen through the calligraphic marks and dripping.

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Dervišević, Haris. "Julien Breton: Maestro of Light Calligraphy." Društvene i humanističke studije (Online) 7, no. 1(18) (2022): 267–80. http://dx.doi.org/10.51558/2490-3647.2022.7.1.267.

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This paper presents the artistic work of the French artist Julien Breton, known by the nicknameKaalam. In the beginning, he was influenced by graffiti art and Islamic calligraphy. Breton did not follow classical calligraphic styles but sought to find his own calligraphic expression that mirrored diwani, thuluth, and kufi script. The biggest leap in his aesthetics happened when he replaced pen and paper with light calligraphy, and a change of medium made him one of the protagonists of this art. In addition to exploring the possibilities of light calligraphy, Bretoncollaborates with other artist

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Li, Xinqi. "Breaking through the Traditional barrier: the Performability of Asian Action performance Calligraphy." BCP Social Sciences & Humanities 17 (May 10, 2022): 295–302. http://dx.doi.org/10.54691/bcpssh.v17i.670.

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This article in Harold rosenberg of the proposed action painting, on the basis of the Asia movement performance calligraphy this specifically for the art of calligraphy artist form new schools were discussed, based on a number of calligraphy artist used by art material, creative process, and the comparison of relevant context and discourse, to introduce a number of calligraphy artist's unique art form. The feedback of interviews with artists will be used as references and their representative views will be presented completely. It proves that the performance forms and artistic concepts of Asia

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Septiana, Eka, Fahrurrozi S та Aulia Ramadhani Nasution. "Dampak Psikologis Penggunaan Aplikasi Anā Muhtarif Al Khaṭ Terhadap Perkembangan Ilmu Kaligrafi Arab". Jurnal Psikotes 1, № 2 (2024): 41–55. http://dx.doi.org/10.59548/ps.v1i2.179.

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Calligraphy is a branch of Arabic knowledge that focuses on the art of writing in Arabic. The art of writing has developed over time. Especially nowadays, an application called Anā Muhtarif Al Khaṭ has emerged, where this application has an influence in the field of calligraphy. Based on this, the author is interested in knowing the impact of using the Anā Muhtarif Al Khaṭ application on calligraphy science. In this research, the author uses qualitative methods, where the author collects data and information through literature studies and trials. The results of this research are that this appl

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Wang, Dong. "A Study on the Geometric Characteristics of Line Mobility and Structural Changes in the Aesthetic System of Chinese Calligraphy." Journal of Combinatorial Mathematics and Combinatorial Computing 127a (April 15, 2025): 2411–28. https://doi.org/10.61091/jcmcc127a-137.

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As an important part of Chinese traditional culture and art, how to efficiently realize the recognition, retrieval and style appreciation of calligraphy is of great significance. Aiming at the shortcomings of the traditional geometric feature recognition model with low recognition efficiency, this paper applies morphological neural network to the geometric feature recognition of calligraphy to design a geometric feature recognition model for calligraphy. Image enhancement is performed on the calligraphic graphics, the expansion pooling subnet is designed to replace the maximum pooling layer, a

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Xing, Xinyue. "The Generation and Transfer of the “Sweet” Category in Calligraphy Appreciation." Journal of Education, Humanities and Social Sciences 27 (March 5, 2024): 13–17. http://dx.doi.org/10.54097/n336ft73.

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Ancient Chinese calligraphy theories often “discuss calligraphy by taste”. “Taste” is an essential category of classical Chinese aesthetics, and is a concrete expression of the spirit of Chinese art. In contemporary calligraphic critical discourse, outside of the audiovisual norms, the Chinese calligraphic tradition of “discussing calligraphy by taste” is undoubtedly an ideological resource that cannot be ignored. “Gan”. In English is called “pleasant” and was originally one of the five flavors, and in the Eastern Han Dynasty, it slowly developed the meaning of “Tian” (sweet) to describe the t

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Nasyaa, Ratu Alifah, and Mulyadi Mulyadi. "NILAI-NILAI ESTETIS PADA ORNAMENT-ORNAMENT MESJID TARBIYAH MEDAN-SUMATERA UTARA." Jurnal Ekshis 2, no. 2 (2024): 135–45. http://dx.doi.org/10.59548/je.v2i2.240.

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Tarbiyah Mosque is one of the mosques that has many calligraphic writings. With this, researchers took action to examine the aesthetic value of mosque ornaments, Ornamental calligraphy is the art of writing calligraphy, This research was conducted using qualitative methods to get the researcher closer to the subject. and researchers conducted interviews to find out the benefits of calligraphy on Medan Tarbiyah mosque’s ornaments. The results of this study show that the calligraphy in the tarbiyah mosque ornaments uses a lot of khaṭ ṣulūṣ and Kūfī. With its beautiful and diverse coloring and wr

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Vasilieva, Anna Yu. "Calligraphy as an Instrument of Development of the Designer’s Project-Oriented Thought." ICONI, no. 4 (2019): 27–33. http://dx.doi.org/10.33779/2658-4824.2019.4.027-033.

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A project-oriented type of thought is very important for the profession of a designer. The article describes project-oriented thought as the chief element of its activity. Students studying design constantly polish their skills in practice when creating tutorial design projects and thereby develop project-oriented thought. Academic disciplines of the artistic cycle are directed at the development of project-oriented thought, and they include such an academic discipline as calligraphy. Knowledge, proficiency and skills developed by calligraphy are revealed by means of research. The article prod

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Aziz, Md Abdul. "The practice of calligraphy in Bangladeshi art." Graphic Design Journal 01, no. 01 (2022): 96–109. https://doi.org/10.63771/gdj0201.005.

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Calligraphy has long been revered as an ancient art form throughout the history of art. Predominantly practiced in China, Japan, and Muslim countries, calligraphy saw a resurgence in the 19th and 20th centuries and continued to expand. The Arabs notably established calligraphy as a distinct art form. In contemporary times, calligraphy has gained popularity not only in religious contexts but also in the industrial sector. In recent years, Bangladesh has joined other countries in fostering new ideas about the practice of calligraphy. The legacy of calligraphy in Bengali fine arts is rooted in th

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Atika, Dea Dwi, and Mita Atiiqah Br Ginting. "KALIGRAFI SEBAGAI SENI BUDAYA ISLAM DAN ARSITEKTUR." Jurnal Ekshis 2, no. 2 (2024): 172–85. http://dx.doi.org/10.59548/je.v2i2.274.

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The art of calligraphy has become an integral part of Islamic art and architecture, reflecting the richness of cultural and spiritual values in Islamic society. This research aims to explore the influence and role of calligraphy in shaping Islamic cultural identity through art and architectural design. In this study, we conducted a comprehensive literature review on calligraphy as an Islamic cultural art and architecture. The results show that calligraphy is not only a decorative element, but also a means to convey religious and philosophical messages to Muslims. The use of calligraphy in Isla

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Hamidon, Xiao Huang Nor Azlin, and Salwa Ayob Luya Wang. "The Mingling of Tradition and Modernity: The Innovation of Calligraphy Art in Design." International Journal of Research and Innovation in Social Science IX, no. I (2025): 4099–107. https://doi.org/10.47772/ijriss.2025.9010318.

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This study explores the dynamic interaction between traditional Chinese calligraphy and contemporary design, examining the cultural value of calligraphy, the challenges it faces in the digital age, and innovative strategies for integration. The study begins by emphasizing the cultural significance of calligraphy as a vehicle for the preservation and transmission of traditional Chinese culture. The study delves into the historical development of calligraphy, emphasizing its role in conveying deep history and aesthetic concepts of Chinese culture. The article further analyzes the current situati

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Nur Rafiza, Siti, and Sayed Muhammad Ichsan. "Seni Kaligrafi Dalam Perspektif Filsafat Seni." Shaf: Jurnal Sejarah, Pemikiran dan Tasawuf 2, no. 1 (2024): 53–61. http://dx.doi.org/10.59548/js.v2i1.265.

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Beauty or often known as aesthetics is not only in the form of carvings or shapes in a painting, but in the art of calligraphy, writing has its own beauty which has meaning in every writing written by a calligrapher. This research aims to find out how the art of calligraphy is from an art philosophy perspective. The research method used is library research with a descriptive qualitative approach. The results of this research are that the philosophy of art views calligraphy as a means of conveying meaning, beauty and spiritual feelings through the form, space and style of writing chosen. In fac

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Hou, Shiyu. "Exploring the Uniqueness of Pingfu Tie Through Wu Region Calligraphy." Lecture Notes in Education Psychology and Public Media 82, no. 1 (2025): 46–52. https://doi.org/10.54254/2753-7048/2025.21701.

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Pingfu Tie by Lu Ji is a representative calligraphic work from the Western Jin period, reflecting the transitional phase of calligraphy from the ancient simplicity to the modern elegance. This piece holds significant value for studying the calligraphy and artistic features of this period. This article analyzes the brushwork, materials, and artistic characteristics of the work, with a focus on the style of cursive script during this period, using the description a style blending Seal Script and Clerical Script as a key point. It also explores the formation of this calligraphic style by consider

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Shen, Jie. "The relationship between Zhang Ruitu's calligraphy and social trend of thought in late Ming Dynasty." Journal of Education, Humanities and Social Sciences 42 (December 12, 2024): 680–84. https://doi.org/10.54097/9aqbcd84.

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The purpose of this paper is to explore the mutual influence and internal relationship between Zhang Ruitu's calligraphy style and the social trend of thought in the late Ming Dynasty. The late Ming Dynasty was an important transition stage in Chinese history, with profound changes in social structure and cultural trends, which not only reflected in the political and economic level, but also profoundly affected the cultural and artistic fields. As an outstanding calligrapher in this period, Zhang Ruitu's calligraphy art not only reflects his personal artistic pursuit, but also reflects the uni

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Ravasio, Matteo, Jiachen Liu, and Ye Zhu. "Calligraphy as a Symbol System." Philosophy East and West 74, no. 4 (2024): 707–24. http://dx.doi.org/10.1353/pew.2024.a943438.

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Abstract: We apply to the art of calligraphy some of the semiotic concepts developed by Nelson Goodman. While this framework cannot describe everything that is interesting and valuable about specific calligraphic traditions, we argue that it can nonetheless elegantly capture some distinctive features of calligraphy and of its position among other major art forms.

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Jang, Ji-hoon. "A Study on the Relationship between Changam Lee Sam-man and Yeongnam Calligraphy." Korean Society of Calligraphy 46 (March 31, 2025): 5–34. https://doi.org/10.19077/tsoc.2025.46.1.

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The purpose of this study is to investigate the relationship between 蒼巖晩 (1770-1847), a teacher of Palha calligraphy, before shedding light on 八徐錫止 (1826-1906), a calligrapher who represents Yeongnam in the modern era, and his student, Stone 徐丙 (562-1936). Although Changam was a man of the middle class, he was a professional calligrapher who represented Honam by pioneering his own calligraphy style called “Flowership” with hard work and writing 『筆訣』 that organized his own book theories even in difficult circumstances. In the case of Palha, he devoted himself to writing and wrote the introduc

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Liang, Kun. "Calligraphic Semiotic Interpretation in Jewelry Design: Culture, Identity and Expression." Journal of Ecohumanism 3, no. 6 (2024): 1479–92. http://dx.doi.org/10.62754/joe.v3i6.4114.

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This article places the application of calligraphy in jewelry design under the perspective of semiotic research. It is a targeted study based on whether calligraphy can be organically integrated with semiotic characteristics for jewelry design. Supplemented by qualitative analysis, based on the relationship between the form and connotation of calligraphy and the signifier and the signified in semiotics, the positive impact of the integration and mutual promotion of calligraphy semiotics and jewelry design was deeply explored. This article first introduces the principles of semiotics, cultural

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Alashari, Duaa Mohammed, Abd Rahman Hamzah, and Nurazmallail Marni. "Islamic Art and Language as a Source of Inspiration Leading to Traditional Arabic Calligraphy Art." UMRAN - International Journal of Islamic and Civilizational Studies 6, no. 3 (2019): 33–45. http://dx.doi.org/10.11113/umran2019.6n3.342.

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The Islamic art has developed from different kind of visual art. Arabic calligraphy is one of the most prominent arts starting from the revolution of the Quran and has a long history. This paper will help to provide some sources of information that can be used by people who would like to understand and study the Islamic calligraphy and Islamic art. Also, this paper is connecting the Arabic language to universal spirituality and express how Arabic calligraphy has become a prominent feature in Islamic world. Indeed, this paper provides a brief of the long history of Islamic calligraphy, explains

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Zhang, Xiafen, and Vijayan Sugumaran. "Content Based Search Engine for Historical Calligraphy Images." International Journal of Intelligent Information Technologies 10, no. 3 (2014): 1–18. http://dx.doi.org/10.4018/ijiit.2014070101.

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Paper collections of historical calligraphy objects in Libraries and museums are scanned into document images to serve the academic society. However, these digitized collections are in image format, lacking the technology to search by image content. This paper proposes a search engine for searching calligraphy image content. First, 2503 page images are segmented into characters and components. Second, characters are interactively labeled and features are extracted to build a calligraphy database. When an image search query is submitted, coarse features are first extracted and used to prune the

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Ma, Yinan, Yunxiang Li, and Huabin Zhang. "Revitalising Chinese Calligraphy's Unique Qualities Through the Utilization of Zen Principles and Chinese Minimalism." Humanities and Social Science Research 8, no. 3 (2025): p50. https://doi.org/10.30560/hssr.v8n3p50.

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The art and art forms defines the culture of specific group, Chinese civilization, with over 5,000 years of history, has continuously merged with diverse cultures, with Chinese characters representing its deep cultural heritage. Chinese calligraphy, a writing art using Chinese characters, has evolved with the development of Chinese character fonts, incorporating the wisdom, philosophy, humanistic spirit, and artistic aesthetics of the Chinese people. The research aims to address challenges in Chinese calligraphy, the proposed approach aims to enhance the engagement of new generations and expan

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Alashari, Duaa Mohammed. "The Aesthetics of Arabic Calligraphy and the Materials Used in Crafting Traditional Art." Jurnal Pembelajaran, Bimbingan, dan Pengelolaan Pendidikan 5, no. 8 (2025): 2. https://doi.org/10.17977/um065.v5.i8.2025.2.

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The art of Arabic calligraphy is particularly concerned with the value of beauty and therefore requires specific tools and materials for its writing, formulation, and production. The writing of Arabic calligraphy, both ancient and modern, has been linked to fixed geometric rules and specific tools. Therefore, this paper aims to identify the most prominent materials and tools used in writing it in the past. This study also aims to identify the most important basic rules that calligraphers must follow. The methodology used in this study is historical and descriptive, as it aligns with the study'

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Shin, Rahim, and Chang. "Learning System for Japanese Kanji Calligraphy with Computerized Supervision." Symmetry 11, no. 9 (2019): 1071. http://dx.doi.org/10.3390/sym11091071.

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The most popular way of learning oriental calligraphy has been by practicing the calligraphy under the supervision of a human teacher, but finding a good instructor can be difficult. There are a number of studies in the literature that have evaluated calligraphic characters in holistic ways, but such systems do not support detailed supervision of scripting errors. This study proposes a Kanji calligraphy learning system with computerized supervision and analyzes the learning efficiency of the system, where the supervision includes symmetries between strokes. The proposed system compares a writt

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Wang, Xiao-yu. "An investigation of Cai Xiang's calligraphy thought from the perspective of Confucianism." Korean Society of Calligraphy 41 (September 30, 2022): 181–211. http://dx.doi.org/10.19077/tsoc.2022.41.08.

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During the Song Dynasty in which Cai Xiang lived, Confucian ideology formed a powerful force in both public and private life. His calligraphy thought was also deeply influenced by this ancient philosophy, ethics and educational concept. Taking Confucianism as the starting point, this paper attempts to examine the influence of Confucianism on Cai Xiang's calligraphy thought and calligraphy creation. In the study of Cai Xiang's calligraphy thought, if it is only discussed from the simple aspect of calligraphy, it will inevitably be incomplete. Calligraphy is a unique art gradually conceived and

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Ярков, А. П. "CALLIGRAPHY SAMPLES IN SIBERIAN COLLECTIONS." NATURAL AND HISTORICAL AND CULTURAL HERITAGE OF SIBERIA 2, no. 1(2) (2024): 30–32. http://dx.doi.org/10.25713/hs.2024.2.1.005.

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В статье ставится задача выявления особенностей применения каллиграфического письма на предметах и текстах в сибирских коллекциях. Выявлено, что предметы с каллиграфическими надписями, хранящиеся с в музеях, немногочисленны и, в основном, являются привозными. Отмечено применение каллиграфии в религиозных и деловых текстах. Выделены центры исламского просвещения в Западной Сибири, где формировалась культура каллиграфии. The article aims to identify the features of the use of calligraphic writing on objects and texts in Siberian collections. It has been revealed that objects with calligraphic in

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Hou, Yi. "The Aesthetic Expression of Abstract Calligraphy: Emotion and Form between Brush and Ink." Journal of Ecohumanism 3, no. 6 (2024): 1493–505. http://dx.doi.org/10.62754/joe.v3i6.4115.

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Calligraphy is one of the most important visual art forms inherited from China for thousands of years. The visual formal resources contributed by the dots and structures of Chinese calligraphy are one of the wonders in the world art history. Among them, abstract calligraphy, as a unique art form, contains rich emotional expression and formal aesthetic exploration between brush and ink. This study adopts a qualitative research paradigm, through in-depth interviews with senior abstract calligraphers, art critics and scholars, combined with on-site observation of the creative process of calligrap

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Lu, Junyan. "Research on the Innovative Mode of Civic and Political Education of Calligraphy in the Context of the New Era." Journal of Global Humanities and Social Sciences 5, no. 11 (2024): 413–18. https://doi.org/10.61360/bonighss242017281104.

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In the context of the new era, the combination of Calligraphy and ideological and political education faces new opportunities and challenges. This paper discusses the innovative mode of ideological and political education in calligraphy, including the integration of teaching content, the innovation of teaching methods and the reform of teaching evaluation. By analyzing the combination of calligraphic works and the theme of ideology and politics, project-based learning and the application of modern technology, this paper points out that this combination can not only improve students' calligraph

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Куланина, Е., and E. Kulanina. "Communicative Function of Calligraphy And Its Role In the Cultural-Valuable Interaction." Scientific Research and Development. Modern Communication Studies 6, no. 5 (2017): 40–45. http://dx.doi.org/10.12737/article_59acfdfa204244.05947320.

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The article analyzes modern approaches to the study of calligraphy (art of handwriting) in terms of its communicative function. Taking into consideration the idea of form and content unity, historically calligraphy managed to form connectional traditions and was represented as one of the ways of transmitting cultural memory. So even after the invention of the printing press, the art of calligraphy was still used to create government documents, significant religious books. Thus, calligraphy is connected both with the creation and translation of certain communicative values. Ontologically, calli

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Son, Han-bin. "A Study on the Formation and Transmission of the Goryeong Shin Family Calligraphy(Seoye)." Korean Society of Calligraphy 44 (March 30, 2024): 37–62. http://dx.doi.org/10.19077/tsoc.2023.44.2.

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This paper aims to elucidate the formation and transmission of calligraphy within the Goryeong Shin Family, with a focus on Shin Gong-je as the central figure. It explores the specific content and influence of academic pursuits and calligraphy among previous generations, as well as the process and significance of their transmission to subsequent generations. In the social context of the Joseon Dynasty, where communal consciousness within clans and social recognition were paramount, maintaining academic traditions and transmitting them to posterity through means such as legal text compilations

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Son, Han-bin. "A Study on the Formation and Transmission of the Goryeong Shin Family Calligraphy(Seoye)." Korean Society of Calligraphy 44 (March 30, 2024): 37–62. http://dx.doi.org/10.19077/tsoc.2024.44.2.

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This paper aims to elucidate the formation and transmission of calligraphy within the Goryeong Shin Family, with a focus on Shin Gong-je as the central figure. It explores the specific content and influence of academic pursuits and calligraphy among previous generations, as well as the process and significance of their transmission to subsequent generations. In the social context of the Joseon Dynasty, where communal consciousness within clans and social recognition were paramount, maintaining academic traditions and transmitting them to posterity through means such as legal text compilations

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Huang, Jin-Juan. "Li Rihua's Views on Calligraphic Historiography and Calligraphic Studies." Korean Society of Calligraphy 46 (March 31, 2025): 283–301. https://doi.org/10.19077/tsoc.2025.46.11.

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Li Rihua (1565–1635) was a renowned literary figure, collector, and connoisseur in the late Ming Dynasty. Throughout his life, he devoted himself to calligraphy and painting, producing a wealth of writings. The late Ming period, in which Li Rihua lived, was characterized by the integration of various intellectual currents, resulting in a highly complex and pluralistic academic landscape. In this historical context, Li Rihua, as a Ming scholar-official, experienced significant changes in his mindset. Currently, there is still a scarcity of research on Li Rihua's calligraphic thought. This paper

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Kim, Eun-a. "Philosophical Background of Development of the Theories of SeoHwaDongChe, SeoHwaDongChul and SeoHwaDongWon." Korean Society of Calligraphy 41 (September 30, 2022): 159–80. http://dx.doi.org/10.19077/tsoc.2022.41.07.

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This article is to reveal the meaning of the thoughts of SeoHwaDongChe (書畵同體: Calligraphy and drawing are same as each other), SeoHwaDongChul (書畵同出: Calligraphy and drawing are beginning together) and SeoHwaDongWon (書畵同源: Calligraphy and drawing sprout from same root) focusing on the understanding of the correlation between Seo (Calligraphy) and Hwa (Painting) that appeared on the stream of the aesthetics of Seo and Hwa flowing through such eras as Tang, Song and Yuan dynasties in China. The transition process of the relation between Seo and Hwa from DongChe to DongChul that finally went to Do

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Qin, Yu. "A Study on Mao Zedong's Cursive Style." Korean Society of Calligraphy 43 (September 28, 2023): 255–71. http://dx.doi.org/10.19077/tsoc.2023.43.11.

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Mao Zedong was a famous calligrapher in modern times. Because of his unique style, his calligraphy lived alone in the calligraphy world. Later generations were called Mao Style.Especially known for cursive writing, the spirit of superiority, still into the holy territory, by the world praise, admiration.Mao Zedong's cursive calligraphy has a wide range of methods, and its origin can be traced directly to the Eastern Han Dynasty cursive calligraphy.Because of the complexity of the learning experience and the wide range of methods, Mao Zedong's cursive style is studied in stages to reveal his ch

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