Application of Choquet Integral-Importance-Performance Analysis and TOPSIS Methods in Approaching the Preference Factors of Calligraphy and Seal Engraving Imagery

Classical Chinese characters,presented through calligraphy,seal engraving,or painting,can exhibit different aesthetics and essences of Chinese characters,making them the most important asset of the Chinese people.Calligraphy and seal engraving,as two closely related systems in traditional Chinese art,have developed through the ages.Due to changes in lifestyle and advancements in modern technology,their original functions of daily writing and verification have gradually diminished.Instead,they have increasingly played a significant role in commercial art.This study utilizes the Evaluation Grid Method(EGM)and the Analytic Hierarchy Process(AHP)to research the key preference factors in the application of calligraphy and seal engraving imagery.Different from the traditional 5-point equal interval semantic questionnaire,this study employs a non-equal interval semantic questionnaire with a golden ratio scale,distinguishing the importance ratio of adjacent semantic meanings and highlighting the weighted emphasis on visual aesthetics.Additionally,the study uses Importance-Performance Analysis(IPA)and Technique for Order Preference by Similarity to Ideal Solution(TOPSIS)to obtain the key preference sequence of calligraphy and seal engraving culture.Plus,the Choquet integral comprehensive evaluation is used as a reference for IPA comparison.It is hoped that this study can provide cultural imagery references and research methods,injecting further creativity into industrial design.

荆楚人文书法篆刻的溯源、演化和风土印迹

湖湘地区拥有深厚的文化底蕴,在书法篆刻领域亦有着独特的发展脉络和杰出的艺术名迹。追溯荆楚人文书法篆刻的起源与发展,探讨著名书法篆刻作品独特的艺术风格和历史价值,及其在现代文化场景的应用,以展现湖湘书法篆刻文化的魅力与成就。

Calligraphy and Seal Engraving Exhibition at Sinitude Gallery

On April 9, 2010, an exhibition of the calligraphy and sealengraving works of Wang Yuzhong opened at Sinitude Galleryin the Chaoyang District of Beijing. Famous artists

书法篆刻在平面设计中的应用研究

中国传统文化中的书法和篆刻是非常珍贵的艺术形式,而它们的应用在平面设计领域中已经形成了一种新的设计趋势。本文分析和研究了书法篆刻的起源、发展以及在平面设计中的应用,旨在探讨这种艺术形式在平面设计中的重要性和实际应用价值。通过对具有代表性的书法篆刻作品进行分析,本文提出了在平面设计中运用书法篆刻的方法和技巧,并阐述了其美学价值和实际应用效果,同时提出了书法篆刻艺术在平面设计中的发展趋势和未来的发展方向。

篆刻中的笔意表现说初探

篆刻是从实用性印章中逐渐分离出来的一门独立的艺术,其发展经历了由工匠制印到文人自篆自刻的过程。笔意表现说便在这样的过程中应运而生。本文旨在对笔意表现说的成因、历史发展脉络及其价值作初步探讨。全文大体上分为三部分:首先,阐明笔意表现说形成的原因,即篆刻与书法的联系、文人参与刻印、印材的改变促使了笔意表现说的诞生。其次,梳理了笔意表现说的历史发展脉络,并将其分成了以"刀法笔意论"为代表的前期笔意表现说和以"印从书出"为代表的后期笔意表现说两部分,各以代表人物的理论和实践来加以说明。最后,是笔意表现说的价值,由笔意表现说的历史发展足可见书法对篆刻的影响和文人参与刻印对于笔意表现说提出的重要性。

繪畫圖像與書、印文辭結合的典範——淺析張渥、吴叡《九歌圖》中的“合作”

元代晝家張渥晝過數卷《九歌圖》,在傳承李公麟晝風的基礎上又有所創新,萬宋元重要的楚辭圖。現存張渥的三卷《九歌圖》有兩卷属元代吴數書《九歌》文辭,以往學界的研究,集中于對晝家和圖像風格的描繪分析,對書家吴觀則較少論及。本文通過對《九歌圖》創作過程和圖中詩、書、畫、印的綜合研究,提出正是由于吴數的深度參與,極大提高了《九歌圖》的文化内涵,并推動了元代文人書畫合作的發展。