Robot calligraphy visually reflects the motion capability of robotic manipulators.While traditional researches mainly focus on image generation and the writing of simple calligraphic strokes or characters,this article...Robot calligraphy visually reflects the motion capability of robotic manipulators.While traditional researches mainly focus on image generation and the writing of simple calligraphic strokes or characters,this article presents a generative adversarial network(GAN)-based motion learning method for robotic calligraphy synthesis(Gan2CS)that can enhance the efficiency in writing complex calligraphy words and reproducing classic calligraphy works.The key technologies in the proposed approach include:(1)adopting the GAN to learn the motion parameters from the robot writing operation;(2)converting the learnt motion data into the style font and realising the transition from static calligraphy images to dynamic writing demonstration;(3)reproducing high-precision calligraphy works by synthesising the writing motion data hierarchically.In this study,the motion trajectories of sample calligraphy images are firstly extracted and converted into the robot module.The robot performs the writing with motion planning,and the writing motion parameters of calligraphy strokes are learnt with GANs.Then the motion data of basic strokes is synthesised based on the hierarchical process of‘stroke-radicalpart-character’.And the robot re-writes the synthesised characters whose similarity with the original calligraphy characters is evaluated.Regular calligraphy characters have been tested in the experiments for method validation and the results validated that the robot can actualise the robotic calligraphy synthesis of writing motion data with GAN.展开更多
This paper clarifies the composition of meaning in the art of Chinese calligraphy on the basis of American semiotician Charles Morris’s three divisions of sign,namely,“Syntactics,Semantics,Pragmatics”.The syntactic...This paper clarifies the composition of meaning in the art of Chinese calligraphy on the basis of American semiotician Charles Morris’s three divisions of sign,namely,“Syntactics,Semantics,Pragmatics”.The syntactical dimension of Chinese calligraphy sign is the artistic meaning of the form of Chinese character.“Semantical dimension”refers to semantic referents of linguistic signs and their literary significance,“pragmatical dimension”refers to the use and interpretation of calligraphy.The study of the three dimensions of meaning in Chinese calligraphy reveals a complex and unique composition of sign meaning.Chinese calligraphy deforms the structure and form of Chinese characters while retaining their semantic invariance.In this way,calligraphy acquires more practical semantic and symbolic meanings through the carrier of Chinese characters which are also linguistic symbols at the same time.Chinese calligraphy is dominated by the meaning of sign forms,taking into account the linguistic reference and the use of sign,and the three dimensions of meaning interact and promote each other,building a dynamic and multidimensional space of sign meaning.展开更多
Since ancient times,calligraphy and meteorology have had an inseparable relationship.Wang Xizhi s Prologue to the Collection of Poems Composed at the Orchid Pavilion records the beautiful scenery of mild wind and brig...Since ancient times,calligraphy and meteorology have had an inseparable relationship.Wang Xizhi s Prologue to the Collection of Poems Composed at the Orchid Pavilion records the beautiful scenery of mild wind and bright sun,as well as the relaxed and joyful mood of people in such weather.Su Shi s Cold Food Calligraphy Copybook records the scenery of solar terms and the author s psychological changes during these solar terms through calligraphy.The Quick Snow and Clear Time Calligraphy Copybook also reflects the grandeur of snowy days and the customs of literati recording weather and sharing it with friends.In Sun Guoting s Shupu,it is clearly stated that the third element of the"five harmony and five obedience"refers to the clear sky,humid air,and pleasant climate,and excellent climatic conditions are conducive to writing.展开更多
From the origin of writing to the formation of the writing system,the names and aesthetics of calligraphy have been evolving with time.Calligraphy has different mainstream writing styles across different eras and has ...From the origin of writing to the formation of the writing system,the names and aesthetics of calligraphy have been evolving with time.Calligraphy has different mainstream writing styles across different eras and has been assigned different names,which also maps the aesthetic orientation of the times.Not only is calligraphy the evolution of the designation of successive generations but also in the continuous pursuit of“name”and“reality”of the unity of the ancient connotation of calligraphy and the era of aesthetic integration.This paper discusses the flavorful meaning behind the concept of ancient calligraphy,as well as its various forms of expression.展开更多
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.Call...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.展开更多
Yang Xiong,a cultural celebrity in ancient China,is a well-known figure in the history of Chinese literature with abundant research on his literary achievements.However,little research has been done on the presentatio...Yang Xiong,a cultural celebrity in ancient China,is a well-known figure in the history of Chinese literature with abundant research on his literary achievements.However,little research has been done on the presentation of his name,former residence,and prose poems in Chinese calligraphy from an iconographic perspective.This paper intends to explore how“Yang Xiong,”“Yang Ziyun,”“Ziyun Pavilion in Xishu Prefecture,”and“Yang Xiong’s prose poems”are presented in the Chinese calligraphy,especially in calligraphies by Wang Xizhi,Su Dongpo,Huang Tingjian,Mi Fu,and other famous calligraphers in the previous dynasties.Research shows that Yang Xiong influenced not only Chinese literature but also Chinese calligraphy to a certain extent.展开更多
Evaluation of calligraphic copy is the core of Chinese calligraphy appreciation and in-heritance.However,previous aesthetic evaluation studies often focussed on photos and paintings,with few attempts on Chinese callig...Evaluation of calligraphic copy is the core of Chinese calligraphy appreciation and in-heritance.However,previous aesthetic evaluation studies often focussed on photos and paintings,with few attempts on Chinese calligraphy.To solve this problem,a Siamese regression aesthetic fusion method is proposed,named SRAFE,for Chinese calligraphy based on the combination of calligraphy aesthetics and deep learning.First,a dataset termed Evaluated Chinese Calligraphy Copies(E3C)is constructed for aesthetic evalu-ation.Second,12 hand‐crafted aesthetic features based on the shape,structure,and stroke of calligraphy are designed.Then,the Siamese regression network(SRN)is designed to extract the deep aesthetic representation of calligraphy.Finally,the SRAFE method is built by fusing the deep aesthetic features with the hand‐crafted aesthetic features.Experimental results show that scores given by SRAFE are similar to the aesthetic evaluation label of E3C,proving the effectiveness of the authors’method.展开更多
This article explores how Chinese calligraphy has evolved in the modern world,utilizing one particular focus:water calligraphy.Water calligraphy is a fascinating,non-invasive,and communal form of street art.It reconte...This article explores how Chinese calligraphy has evolved in the modern world,utilizing one particular focus:water calligraphy.Water calligraphy is a fascinating,non-invasive,and communal form of street art.It recontextualizes traditional calligraphy and offers insight into modern Chinese society and the concepts of art and creation.The simple trade of ink and paper for water and the ground has produced one highly intriguing practice.The following article will go through water calligraphy's link to modernity,its general appeal,and my own personal experience attempting it.展开更多
基金National Key Research and Development Program of China,Grant/Award Numbers:2021YFB2501301,2019YFB1600704The Science and Technology Development Fund,Grant/Award Numbers:0068/2020/AGJ,SKL‐IOTSC(UM)‐2021‐2023GDST,Grant/Award Numbers:2020B1212030003,MYRG2022‐00192‐FST。
文摘Robot calligraphy visually reflects the motion capability of robotic manipulators.While traditional researches mainly focus on image generation and the writing of simple calligraphic strokes or characters,this article presents a generative adversarial network(GAN)-based motion learning method for robotic calligraphy synthesis(Gan2CS)that can enhance the efficiency in writing complex calligraphy words and reproducing classic calligraphy works.The key technologies in the proposed approach include:(1)adopting the GAN to learn the motion parameters from the robot writing operation;(2)converting the learnt motion data into the style font and realising the transition from static calligraphy images to dynamic writing demonstration;(3)reproducing high-precision calligraphy works by synthesising the writing motion data hierarchically.In this study,the motion trajectories of sample calligraphy images are firstly extracted and converted into the robot module.The robot performs the writing with motion planning,and the writing motion parameters of calligraphy strokes are learnt with GANs.Then the motion data of basic strokes is synthesised based on the hierarchical process of‘stroke-radicalpart-character’.And the robot re-writes the synthesised characters whose similarity with the original calligraphy characters is evaluated.Regular calligraphy characters have been tested in the experiments for method validation and the results validated that the robot can actualise the robotic calligraphy synthesis of writing motion data with GAN.
基金Sichuan Philosophy and Social Science Foundation Post-Funded Project“Semiotic Interpretation of Chinese Calligraphic Art in the Late Ming Dynasty”(SCJJ23HQ57).
文摘This paper clarifies the composition of meaning in the art of Chinese calligraphy on the basis of American semiotician Charles Morris’s three divisions of sign,namely,“Syntactics,Semantics,Pragmatics”.The syntactical dimension of Chinese calligraphy sign is the artistic meaning of the form of Chinese character.“Semantical dimension”refers to semantic referents of linguistic signs and their literary significance,“pragmatical dimension”refers to the use and interpretation of calligraphy.The study of the three dimensions of meaning in Chinese calligraphy reveals a complex and unique composition of sign meaning.Chinese calligraphy deforms the structure and form of Chinese characters while retaining their semantic invariance.In this way,calligraphy acquires more practical semantic and symbolic meanings through the carrier of Chinese characters which are also linguistic symbols at the same time.Chinese calligraphy is dominated by the meaning of sign forms,taking into account the linguistic reference and the use of sign,and the three dimensions of meaning interact and promote each other,building a dynamic and multidimensional space of sign meaning.
文摘Since ancient times,calligraphy and meteorology have had an inseparable relationship.Wang Xizhi s Prologue to the Collection of Poems Composed at the Orchid Pavilion records the beautiful scenery of mild wind and bright sun,as well as the relaxed and joyful mood of people in such weather.Su Shi s Cold Food Calligraphy Copybook records the scenery of solar terms and the author s psychological changes during these solar terms through calligraphy.The Quick Snow and Clear Time Calligraphy Copybook also reflects the grandeur of snowy days and the customs of literati recording weather and sharing it with friends.In Sun Guoting s Shupu,it is clearly stated that the third element of the"five harmony and five obedience"refers to the clear sky,humid air,and pleasant climate,and excellent climatic conditions are conducive to writing.
文摘From the origin of writing to the formation of the writing system,the names and aesthetics of calligraphy have been evolving with time.Calligraphy has different mainstream writing styles across different eras and has been assigned different names,which also maps the aesthetic orientation of the times.Not only is calligraphy the evolution of the designation of successive generations but also in the continuous pursuit of“name”and“reality”of the unity of the ancient connotation of calligraphy and the era of aesthetic integration.This paper discusses the flavorful meaning behind the concept of ancient calligraphy,as well as its various forms of expression.
文摘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.
文摘Yang Xiong,a cultural celebrity in ancient China,is a well-known figure in the history of Chinese literature with abundant research on his literary achievements.However,little research has been done on the presentation of his name,former residence,and prose poems in Chinese calligraphy from an iconographic perspective.This paper intends to explore how“Yang Xiong,”“Yang Ziyun,”“Ziyun Pavilion in Xishu Prefecture,”and“Yang Xiong’s prose poems”are presented in the Chinese calligraphy,especially in calligraphies by Wang Xizhi,Su Dongpo,Huang Tingjian,Mi Fu,and other famous calligraphers in the previous dynasties.Research shows that Yang Xiong influenced not only Chinese literature but also Chinese calligraphy to a certain extent.
文摘Evaluation of calligraphic copy is the core of Chinese calligraphy appreciation and in-heritance.However,previous aesthetic evaluation studies often focussed on photos and paintings,with few attempts on Chinese calligraphy.To solve this problem,a Siamese regression aesthetic fusion method is proposed,named SRAFE,for Chinese calligraphy based on the combination of calligraphy aesthetics and deep learning.First,a dataset termed Evaluated Chinese Calligraphy Copies(E3C)is constructed for aesthetic evalu-ation.Second,12 hand‐crafted aesthetic features based on the shape,structure,and stroke of calligraphy are designed.Then,the Siamese regression network(SRN)is designed to extract the deep aesthetic representation of calligraphy.Finally,the SRAFE method is built by fusing the deep aesthetic features with the hand‐crafted aesthetic features.Experimental results show that scores given by SRAFE are similar to the aesthetic evaluation label of E3C,proving the effectiveness of the authors’method.
文摘This article explores how Chinese calligraphy has evolved in the modern world,utilizing one particular focus:water calligraphy.Water calligraphy is a fascinating,non-invasive,and communal form of street art.It recontextualizes traditional calligraphy and offers insight into modern Chinese society and the concepts of art and creation.The simple trade of ink and paper for water and the ground has produced one highly intriguing practice.The following article will go through water calligraphy's link to modernity,its general appeal,and my own personal experience attempting it.
