Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed ...Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed in the complexity of the character strokes, style variations and general layouts. Determining how Chinese calligraphy aesthetic patterns emerged from the general layout of artworks is a challenging objective for researchers. Here we investigate the statistical fluctuation structure of Chinese calligraphy characters sizes using characters obtained from the calligraphy artwork "Preface to the Poems Collected from the Orchid Pavilion" which was praised as the best running script under heaven. We found that the character size distribution is a stretched exponential distribution. Moreover, the variations in the local correlation features in character size fluctuations can accurately reflect expressions of the calligrapher's complex feelings. The fractal dimensions of character size fluctuations are close to the Fibonacci sequence. The Fibonacci number is first discovered in the Chinese calligraphy artworks, which inspires the aesthetics of Chinese calligraphy artworks and maybe also provides an approach to creating Chinese calligraphy artworks in multiple genres.展开更多
近年来随着学术交流的不断深入,美国芝加哥菲尔德自然历史博物馆(Field Museum of Natural History)收藏的中国碑帖拓本日益为人们所关注,《宋拓赵侍郎不流本游相〈兰亭〉》就是其中之一。该本为游相《兰亭》"己之二"(第五十...近年来随着学术交流的不断深入,美国芝加哥菲尔德自然历史博物馆(Field Museum of Natural History)收藏的中国碑帖拓本日益为人们所关注,《宋拓赵侍郎不流本游相〈兰亭〉》就是其中之一。该本为游相《兰亭》"己之二"(第五十二种),翻刻于一"九字已损"、"五字未损"的定武古本。由于卷改册装,其上"赵氏孟林"骑缝印被一分为二,十分罕见。在目前关于"赵氏孟林"的文献记载尚不充分、明确的情况下,可以从已知的游相《兰亭》拓本装潢钤印定式本身入手,对其进行分析。检览统计若干游相《兰亭》相关信息,笔者认为,赵孟林是明初晋藩朱棡装潢人的可能性较大。作为游相《兰亭》标志要素之一的蓝纸隔水,则是经朱氏收藏后重新进行装裱的一个显著特征。而同一取材、或有或无的蓝纸小签上所标注的"天干编次帖本名称",亦是游相《兰亭》标志要素之一,或许正是出自赵孟林之手,当然也不排除朱棡亲笔的可能。展开更多
基金funded by the National Natural Science Foundation of China (No. 41465010, 41977245)。
文摘Chinese calligraphy is a thousand-year-old writing art. The question of how Chinese calligraphy artworks convey emotion has cast its spell over people for millennia. Calligraphers' joys and sorrows were expressed in the complexity of the character strokes, style variations and general layouts. Determining how Chinese calligraphy aesthetic patterns emerged from the general layout of artworks is a challenging objective for researchers. Here we investigate the statistical fluctuation structure of Chinese calligraphy characters sizes using characters obtained from the calligraphy artwork "Preface to the Poems Collected from the Orchid Pavilion" which was praised as the best running script under heaven. We found that the character size distribution is a stretched exponential distribution. Moreover, the variations in the local correlation features in character size fluctuations can accurately reflect expressions of the calligrapher's complex feelings. The fractal dimensions of character size fluctuations are close to the Fibonacci sequence. The Fibonacci number is first discovered in the Chinese calligraphy artworks, which inspires the aesthetics of Chinese calligraphy artworks and maybe also provides an approach to creating Chinese calligraphy artworks in multiple genres.
文摘近年来随着学术交流的不断深入,美国芝加哥菲尔德自然历史博物馆(Field Museum of Natural History)收藏的中国碑帖拓本日益为人们所关注,《宋拓赵侍郎不流本游相〈兰亭〉》就是其中之一。该本为游相《兰亭》"己之二"(第五十二种),翻刻于一"九字已损"、"五字未损"的定武古本。由于卷改册装,其上"赵氏孟林"骑缝印被一分为二,十分罕见。在目前关于"赵氏孟林"的文献记载尚不充分、明确的情况下,可以从已知的游相《兰亭》拓本装潢钤印定式本身入手,对其进行分析。检览统计若干游相《兰亭》相关信息,笔者认为,赵孟林是明初晋藩朱棡装潢人的可能性较大。作为游相《兰亭》标志要素之一的蓝纸隔水,则是经朱氏收藏后重新进行装裱的一个显著特征。而同一取材、或有或无的蓝纸小签上所标注的"天干编次帖本名称",亦是游相《兰亭》标志要素之一,或许正是出自赵孟林之手,当然也不排除朱棡亲笔的可能。
