A Study Into The Forms Of "JinWen" Script

The examination of calligraphic forms has been given increasing attention,with research and discussion on the subject's visual art forms.The research of China and Japan related research on the subject has not only greatly benefitted my understanding of it but at the same time has given rise to a lot of uncertainty which on further analysis may be traced to the fact that the majority of the research on calligraphic "forms" do not delve into it in a definitive manner.In particular,while there are many general references to "visual forms",the scant information on the definition of forms is the motivation for this thesis paper.With the view towards defining "forms" along the lines of a more structured or systematic manner,would not only benefit the creation or the teaching of calligraphy but in the course of researching these forms would also mutually affect and develop a variety of counter and supportive approaches for further analysis.The definition of "forms" then represents the central tenet of my research."Forms" possess both artistic and philosophic meanings,which the West has long associated it with,and as a matter of course,from such a Western point of view,calligraphy has been seen as a visual art form.However,within the Asian context,Chinese calligraphy as it is embodied within the culture and tradition of Chinese arts has as its core a uniquely distinctive and differentiated Han Script.This paper looks at the two methods of approaches-both Western and Eastern,further examining the research framework into Chinese and Japanese calligraphy,as well as related writings that bear upon the topic so as to generate thoughts for further study.Art "forms" is usually regarded as "forms" as in "forms within content".But in the 20th century,there emerged in the West a multitude of research that tended to define or categorize"forms" as belonging to a question of "depth".This thesis not only treats the definition of"forms" as "forms within content" but also includes inherent forms,visual forms and artistic forms"-these three types of "forms" are not only qualitatively different,they also influence the creative process as well as the "aesthetic form" and even to the extent of the how the framing of the artwork should be based,for example.This section expounds on the concept of "forms"."Forms" regardless of whether it refers to "visual forms" as stated above,has many levels of meaning and the question of the "inter-relationships".This thesis approaches the study of "forms" from the inherently rich source of Western Zhou inscriptions and from basis of defining the "forms",examines its relationship with "visual forms" and the elements that comprises it.In addition,this thesis will also analyze the differences in "forms" and the depth or its various associated levels.Besides delving into the language of forms,the use of diagrams or graphs will be referred to in order to attempt to develop an "analytical guide map" to illustrate its meanings in a clearer manner with the aim of improving the current methodology on calligraphic research on"forms".With "forms" taking up the central core of research methodology on calligraphy represents an entirely new approach that not only will progressively improve on the creativity and display of calligraphic arts,but also in the teaching of calligraphy as well as other related arts.This approach clearly impacts on the manner in which one thinks about the subject and also aid and expand the central ideas on the "relationship between forms".The foundation of this thesis is based on the definition of "forms",borrowing examples from the Western Zhou inscriptions to illustrate and expand the research methodology into"calligraphic forms".