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A Study Of Modern Calligraphy Representatives

Posted on:2016-06-17Degree:DoctorType:Dissertation
Country:ChinaCandidate:C ChuFull Text:PDF
GTID:1105330470978321Subject:Fine Arts
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When we survey the history of modern Chinese calligraphy over the past four decades, we find that its rebirth and development have been intimately connected to calligraphic practice, calligraphic theory, and events in the field of calligraphy. The author thus narrates this history by studying the key individuals who have strongly influenced modern calligraphy and modern art. Deviating from the traditional physical contexts of calligraphy and expanding its definition as a medium, they engage in the creative practice of modern calligraphy with a multimedial, multi-perspectival, and interactive-environmental approach. Their works have had a tremendous impact on modern calligraphy and on modern and contemporary art. This thesis is thus also an argument for the importance of modern Chinese calligraphy in the international art world and of modern Chinese art in the development of world art.The methodology of Calligraphy/Non-Calligraphy: A Study of Key Figures in Modern Chinese Calligraphy is as follows. Chapter One is an overview that summarizes the relevant literature and draws broad connections within the body of material. Chapters Two through Six are fine-grained analyses of particular cases. Chapter seven primarily engages in conceptualization and logical extrapolation.Calligraphy/Non-Calligraphy: A Study of Key Figures in Modern Chinese Calligraphy consists of seven chapters. Chapter One, “The Transformations of Calligraphy in Modern Culture,” articulates the importance of “non-calligraphic calligraphy” in modern calligraphy by studying the transition between tradition and modern calligraphy. Chapter Two, “Ink-Performance, Ink-Idea, Ink-Image,” explores the interactions between the traditional calligraphic spirit in Wang Dongling’s works and public spaces, the performance mode, and photography. Chapter Three, “From Deconstruction of Characters to Explorations in Conceptual Abstraction,” demonstrates Xu Bing’s sensitivity to medium through a study of the transition between Book from the Sky and Book from the Ground. Chapter Four, “Calligraphic Poetry in Space,” focuses on the philosophical, poetic, and literary interventions in Qiu Zhenzhong’s The Four Initial Series. Chapter Five, “A Writer in Ink and Light,” studies Qiu Zhijie’s Writing the “Orchid Pavilion Preface” One Thousand Times and 24 Seasons to explicate his calligraphic concept as realized in his general artistic practice. Chapter Six, “From Conceptual Ink to Trials in Conceptual Installation,” analyzes Gu Wenda’s conception of medium and calligraphy. Chapter Seven, “A Survey of Modern Calligraphic Art,” summarizes the previous five chapters, articulates “non-calligraphic calligraphy” as a salient feature of modern calligraphy, looks ahead to future trends in modern calligraphy, and considers how it may establish its status in international modern art.
Keywords/Search Tags:non-calligraphic calligraphy, modern calligraphy, multimedia, modern art, contemporary art
PDF Full Text Request
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