‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy
The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a...
Main Authors: | , |
---|---|
Format: | Article |
Language: | English |
Published: |
Universidad Complutense de Madrid
2021-02-01
|
Series: | Eikón Imago |
Subjects: | |
Online Access: | https://revistas.ucm.es/index.php/EIKO/article/view/74154 |
id |
doaj-ee6444db872e405c9e3de34d8fb4d829 |
---|---|
record_format |
Article |
spelling |
doaj-ee6444db872e405c9e3de34d8fb4d8292021-06-03T08:50:38ZengUniversidad Complutense de MadridEikón Imago2254-87182021-02-011010.5209/eiko.74154‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese CalligraphyRodica Frențiu0Florina Ilis1Babes-Bolyai UniversityBabes-Bolyai University The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation. https://revistas.ucm.es/index.php/EIKO/article/view/74154Japanese CalligraphyAutographic and Allographic ArtCalligraphicityImmanenceTranscendence |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Rodica Frențiu Florina Ilis |
spellingShingle |
Rodica Frențiu Florina Ilis ‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy Eikón Imago Japanese Calligraphy Autographic and Allographic Art Calligraphicity Immanence Transcendence |
author_facet |
Rodica Frențiu Florina Ilis |
author_sort |
Rodica Frențiu |
title |
‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy |
title_short |
‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy |
title_full |
‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy |
title_fullStr |
‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy |
title_full_unstemmed |
‘Immanent’ Visibility and ‘Transcendental’ Vision in Japanese Calligraphy |
title_sort |
‘immanent’ visibility and ‘transcendental’ vision in japanese calligraphy |
publisher |
Universidad Complutense de Madrid |
series |
Eikón Imago |
issn |
2254-8718 |
publishDate |
2021-02-01 |
description |
The premise of the approach in the present paper is the interpretation of Japanese calligraphy as an artistic act and the reception of the calligraphic work of art as the object of the aesthetic relation. By combining the theoretical analysis of the main artistic functions of calligraphy –as both a representative and an expressive art – with the practice of calligraphic art, the present endeavour aims to identify the factual and artistic poetics of this visual (pictorial) and verbal art. As such, our study focuses on the particularities of the calligraphic work of art, given by its means of existence: its object of immanence is concurrently a physical and an ideal object (through its linguistic scriptural contents). In our analysis, the Japanese calligraphic art becomes the object of a reading that exploits the Western and Eastern aesthetic poetic theories, in an attempt to explore this art’s means of existence, functioning, and reception, by revealing its calligraphicity, or its artistic-aesthetic quality. As a reflection on the relation between the image and the word, and on the coherence of the vision triggered by it, based on the characteristics of the visible, our study is an original approach that analyses and interprets the vocabulary and the formal style of a unique artistic field that begins with a linguistic expression, as a means of representation, and culminates with an abstract form of expression, as a means of presentation.
|
topic |
Japanese Calligraphy Autographic and Allographic Art Calligraphicity Immanence Transcendence |
url |
https://revistas.ucm.es/index.php/EIKO/article/view/74154 |
work_keys_str_mv |
AT rodicafrentiu immanentvisibilityandtranscendentalvisioninjapanesecalligraphy AT florinailis immanentvisibilityandtranscendentalvisioninjapanesecalligraphy |
_version_ |
1721399536505585664 |