Study & Practice of the Balanced Beauty of Calligraphy

• Main Authors: CHUEH, TZU-YANG, 闕子暘
• Other Authors: Huang, Chih-Yang
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/37893302267778406322

碩士 === 華梵大學 === 美術學系碩士班 === 104 === ABSTRACT Calligraphy is a Chinese unique artistic form. Chinese traditional aesthetics has been putting great emphasis on striking balance between Yin(the dark side) and Yang(the bright side). Namely, both Yin and Yang can exist in harmony. Besides, as the core idea of Chinese traditional culture, Confucianism does have a far-reaching influence on all sorts of Chinese art and culture, including Chinese calligraphy. According to Zhongyoung, which is also known as The Doctrine of the Mean, one of Confucianism classics, human beings have a variety of emotions such as delight, anger, or sorrow. As long as we don’t show outside, we are in a condition of “Zhong”(moderation). If we show our feelings without being too emotional, we are in a condition of “Hé”(harmony). Zhong is the nature of everything, and Hé is the doctrine everyone should follow. Simply put, Zhong and Hé means a balanced status. With Zhong and Hé, everything is in order. Therefore, the aesthetics of Zhong and Hé can’t be emphasized too much. Zhong and Hé works in harmony in Chinese calligraphy, just as Yin and Yang do. Yin means tenderness, and Yang means toughness. In view of Chinese traditional aesthetic standards, the former is called the beauty of tenderness, and the latter is called the beauty of toughness. The balanced beauty contains both Yin and Yang, and Zhong and Hé is the expression of Yin and Yang. In other words, all contrary concepts, such as sense and sensibility, or subjectivity and objectivity, can be in harmony with each other. More specifically, Chinese calligraphy can strike balance between these conflicting notions, which makes people relaxed and refreshed. By imitating and exploring sages’ classics, I can learn the essence from these masterpieces. Then, by combining the ancient and the modern, I hope to develop my own style of calligraphy. The chapters are as follows: (1) Introduction, Motivation, Purpose, and Approaches (2) Literature Review (3) Conception of Creation (4) Analysis of Works (5) Conclusion The research aims to explore the balanced beauty of Chinese calligraphy. By appreciating works, I can conclude the styles and features. Furthermore, I can apply these principles to my calligraphy in the hope of creating a new style.