Generative adversarial networks based motion learning towards robotic calligraphy synthesis

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.

The Meaning Composition of Chinese Calligraphy Sign

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.

The Aesthetic Connotation of Ancient Calligraphy

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.

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.

Daily Dining Tables of Emperors in the Qing Dynasty

Dining table is the daily necessity for the Qing emperor.However,emperors’dining tables in the Royal Court were quite different from those of commoners’in the folk.According to archives,Qing emperors normally used low tables put on the heatable brick bed rather than high tables laid on the ground.These low dining tables were mainly made of red sandalwood,huanghuali wood and lacquered wood.In Qing emperor’s daily meal,not just one low table,but a combination of multiple low tables was used.When the emperor leaved the Forbidden City on trip or inspection tour,folding low tables were applied.

Research on Yang Xiong from a Calligraphic Perspective

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.

SRAFE:Siamese Regression Aesthetic Fusion Evaluation for Chinese Calligraphic Copy

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.

Jade Collection of Emperor Qianlong in the Qing Dynasty

During the reign of emperor Qianlong of the Qing Dynasty,the political rule was relatively stable,the economy continued to develop,and both civil and martial situations flourished.The emperor’s love for jade articles made this period a peak in the development of Chinese jade culture.Based on jade articles of emperor Qianlong collected in the Palace Museum and related documents and archives,this paper tries to explore characteristics of this collection and emperor Qianlong’s collecting methods,then explains that this collection not only has the functions of aesthetics,but also has the meaning of morality,religion and politics.

Modernity and the Water Calligraphy Experience

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.

新见杨明照手稿书法研究

以新见杨珣先生、王恩平先生所藏杨明照先生大量手稿为研究材料,分析了杨明照书法艺术源头与流变在于受到家学影响和燕京大学读书期间郭绍虞先生指点,论述了杨明照书法艺术从日常书写逐渐转变到以颜书为取法对象的直追古法,再到人书俱老的化境,以及他与四川高等书法教育文脉渊源关系.研究表明,杨明照书法超出文本外的文化意义,即一代文人风骨.首次对杨明照手稿书法进行研究,强调杨明照书法形象被其学术影响所遮蔽.作为蜀学研究最后一位大师,学界对他研究应多维和立体,以彰显那代学人的文化风骨.

“中和”与书法艺术辩证法

从先秦“中”“和”观念发展而来的“中和”思想规约了中国艺术的理想境界与价值鹄的,其中包含着深刻的艺术辩证法。在书法中,“中和”体现在“情感”的中节合度、“法则”的对立统一、“风格”的众体兼备等方面,是各种风格元素交融互渗之后的典范形态。当代书法界应抑制过度追求标新立异的冲动,回归中和的审美心态,书家要实现笔墨与情感的共舞;创作上力避纯视觉化的倾向,依照“中和”的美学圭臬,对作品形式要素之间的矛盾统一关系加以探究与验证;同时应注重书法生态的整体平衡,兼蓄并包,和而不同,以臻至“中和”之艺术胜境。

“京师”的生成——早期话语中“京师”之称的演进与定型

“京”的早期含义是指人为营建的高大建筑,它在西周时期衍生出“京”“镐京”“京室”“京宗”“京宫”等,其中的“京”与后世都城意义上的“京”存在着区别;以春秋及后世的地名而言,“京”并没有成为“天子之都”的专有名称:作为地名“京”一直延续至后世,而“京城”“京都”专指首都,形成于两汉时期。“京师”的早期含义是指王朝的大军,它至迟在周厉王时期已完成了语义的抽象化,用于指称“天子之都”所在的区域。迭至春秋时期,“京师”已成为“天子之都”所在区域的专称。其后,“京师”的含义被延续至西汉时期,并进一步衍生出诸多时人常用、后世熟悉的称谓组合。

基于“聚于胃,关于肺”论治小儿咳嗽变异性哮喘

咳嗽变异性哮喘是儿科慢性咳嗽中最常见的疾病之一,“聚于胃,关于肺”是对咳嗽病机的概括,反映了《黄帝内经》在治疗咳嗽病时对肺胃的高度重视。肺胃两脏解剖位置相近,脉络相互贯通,在生理病理方面也相互影响,为临床从肺胃论治咳嗽变异性哮喘提供了充实的理论依据。根据此理论,临床上对于风热犯肺证以桑菊饮为主疏风清热,宣肺止咳;胃阳虚弱,脾虚气滞证者以异功散和或苓桂术甘汤为主温脾和胃,理气止咳;脾虚痰伏,肺热气逆证以加味六安煎为主健中化痰,清肺降气;肺胃阴伤证以麦门冬汤为主养阴生津。以求治咳不离肺,也不拘泥于肺。

秦汉历法“五帝说”与远古天文历法体系吻合一致——从岭南北帝庙说起

岭南一带许多北帝庙(又名玄武庙)有其历史渊源。古代将赤道附近的星空划分为四宫:东宫青龙、西宫白虎、南宫朱雀和北宫玄武。玄武由龟蛇组成,北帝是脚踏龟、蛇的北宫之神。原来华夏先民视北斗星的斗柄与北极星连成一线为“天枢”,一年四季天体都是围绕它旋转运动,由此制定历法安排活动。对此《山海经》、卜辞和《尚书·尧典》等均有记载。殷人经历对四方部落的征战形成了以我为中心的五方观念,这是五行说的原始。尔后周人倡八卦之说,春秋时代五行说和八卦文化盛行。前者认为天地万物由金、木、水、火、土五种物质元素组成。它们之间相生相克。开始五者并列,后来出现尚土思想;八卦之说则与八方、八风、八节相配渐成系统,认为天帝按八卦方位巡行八方,且有相应的八风、八节。到战国末期和秦汉出现了新的以中央黄帝为首的“五帝说”。再到秦汉时期五帝死后被祭祀,并重新把麒麟转配中宫黄帝,其北宫之位也由玄武代替这样。远古华夏天文历法体系的“五帝说”与秦汉大统一形势和需要吻合一致,最后由西汉司马迁以官方史书记载确定,适应秦汉中央大统一集权的体制格局。这个演变意义重大。

再论澶渊之盟

北宋景德元年,辽承天太后与圣宗率大军20万南下攻宋,同时命宋降将王继忠致书宋真宗,表示“愿修旧好”。辽军围攻瀛州失败后,绕过大名府,兵临澶州城下。宋真宗亲征至澶州,登上北城门楼,宋军皆呼万岁,气势百倍。辽南京统军使萧挞览(凛)率军攻澶州北城,被宋军伏弩射死,辽军士气大挫。宋辽和议使节经过多次往返,终于订立澶渊之盟。双方相约为“兄弟之国”;“沿边州军,各守疆界”;宋朝岁遗辽朝“绢二十万匹、银一十万两”,作为“助军旅之费”。澶渊之盟结束了长达25年的宋辽战争局面,维持了此后将近120年的和平友好往来,对宋辽双方的社会稳定、经济发展、文化繁荣以及中华民族的融合与发展都起到了重要作用,对当代各民族的平等、团结、互助、和谐也具有借鉴和启迪意义。

论宋元界画“真实性”的多重维度——从《明皇避暑宫图》轴的创作理性说起

界画是以描绘建筑、舟车、桥梁等构筑物为目的,用界尺辅助作图的特殊画种,能否如实表现建筑信息是评判其优劣的重要指标,对画作“真实性”的求索引出对版本、原型、创作意图和笔法等不同内容的探讨,影响人们评判此类媒材的立场。举元人所摹郭忠恕本《明皇避暑宫图》轴为例,探索画家建构图像内部形式秩序的方法,并比较其与真实营造工法的异同。通过辨析图像内蕴的几何规律与折算原则,总结画家的创作理性,利用控制网格、扩大模数等工具系统考察该例的“真实性”,深化对于主观创作理性与客观真实性间辩证关系的认识。

黄帝内针治疗眼部顽疾经验

黄帝内针源自《黄帝内经》,在杨真海先生的努力下,始普及传播。黄帝内针的特点是简易、安全、实用、高效,操作手法相对简单,不需人为补泻,不用提插捻转,不讲得气与否,易学习、易掌握。介绍黄帝内针的中医学术思想及其治疗眼部顽疾的临床经验,认为黄帝内针可改善各类过敏性和免疫性相关疾病所致眼部损害,适合现今社会广为推广。并举验案4则。

清代巡幸驻跸行宫景点题名构成与精神表达

【目的】景点题名是园林营建活动的必要环节。目前关于清代巡幸驻跸行宫的研究多聚焦于历史背景、选址布局、建筑形制等方面,较少从景点题名切入,对其进行综合梳理有助于深入揭示清代行宫的历史与文化内涵。【方法】选取14座典型清代巡幸驻跸行宫的187个景点题名作为研究对象,采用文献研究、文本分析等方法,从景点题名的构成和精神表达2个方面展开探索。【结果】景点题名以三字格为主流形式,游赏空间题名数量最多。题名通过自然景观奠定情感基调,以人文景观作为具象骨架,描述出山林野趣、水波潋滟、点景构筑、宗教怀古4种主题,呈现出“中心—边缘”的辐射式关联,从不同角度强化巡幸目的。景点题名是驻跸行宫肩负巡幸使命和表征皇权的直接印证。【结论】以巡幸活动为主导,沿途的自然、历史、文化对驻跸行宫景点题名具有重要影响,使之在古典园林中独具特色。上述发现可为当代园林景点题名提供参考。

网络手写的赛博文字:“具身-物性”与后人类未来的降维存在

网络手写是目前年轻人比较热衷的文字书写方式,通过书写媒介和网络社交平台,能够方便地将手写文字的个性笔迹,与名家书法或基准字库的视觉美学融为一体,生成视觉“奇异性”的赛博文字、数字书法或文字数码物,带给网民参与的书写乐趣、趣缘交往和文创商机。文章主要运用许煜分析一般“数码物”时引自于西蒙栋思考一般“技术物”时所采用的“数量级”概念和方法,结合“一起练字”网络手写平台的相关个案和经验材料,从书写文字与书写者身体的媒介关系及其演化历史出发,尝试建构融合“个体之物”与“环境之物”两种不同数量级之物的“具身-物性”阐释框架,从而较为细致地阐明网络手写文字如何以“模拟拼贴”和“数字生成”构成文字数码物的两种创作模式;同时分析网络手写平台如何由于未能有效解决网民手写文字的网络“可见性”所导致的社交贫困问题,提出可能的“争胜性”策略。文章将网络手写文字的探讨,定位在更普遍的人机交互和网络社交领域,强调正是作为模拟媒介的人类肉身和作为数字媒介的计算机网络及其算法之间不对等的数量级转导,实现了赛博文字及其网络交往,并将相关讨论扩展到更广泛的后人类未来可能以数字降维和图像交流为存在方式的媒介哲学。

融合书画艺术元素的家居软装饰图案优化设计及应用

目的利用中国书画元素对家居软装饰图案进行优化设计。方法在分析中国书画艺术元素特点和内容的基础上,结合家居软装饰的构成因素及风格特征,将构图、线条、赋色和笔墨应用于软装饰的优化设计中。随后将基于卷积神经网络的超分辨率模型(Efficient Sub-Pixel Convolutional Neural Network,ESPCN)与Laplace算子相结合,形成Laplace-ESPCN模型,由此进行整体装饰图案的迁移,提出了基于泊松融合的局部迁移方法并加以完善。结果所提出的整体装饰图案迁移模型在噪声密度超过50%时,品质因素仍然在0.5左右,并且峰值信噪比最低可达40 dB。将其与泊松融合的局部迁移结合后,目标区域分割下人数占比均在50%附近。结论所提出的Laplace-ESPCN整体图案迁移模型得到的图像质量较高,具有更好的降噪效果。与泊松融合的局部迁移方法结合后,所得图像边缘更加平滑,可以在家居软装饰图案优化设计中有效应用,具有一定的推广价值。