Chinese Calligraphy

İnsan zekâsının kökeni mağara resimleri ve jestlerle desteklenen ilkel iletişimden anlaşılır. Bu resimler, i büyüsel çağrılar ve hayatta kalma amaçlarıyla üretilmiştir. Konuşma dili yalnızca seslerden oluşmakta değildi; bunu beden dili, jestler ve dokunsal anlatımlar da destekliyordu. Çizimler, jestler ve ritüellerle birlikte düşüncelerin aktarımında önemli rol oynadı; zamanla bunlar, konuşmayı belirlemeye başladı.
M.Ö. 5. binyılda Ortadoğu’da ilk piktogramlar ortaya çıktı. Asıl yazı, bunların sistematik biçimde işlenmesiyle gelişti. Bu gelişimde, bir yanda figüratif biçimler, diğer yanda ise soyutlaşan alfabetik oluşumlar yer aldı. Piktogramlar, zamanla ideogramlara, oradan fonogramlara dönüşerek soyut anlamlar ve ses değerleri kazandı.
Böylece ilerleyen yazı sistemleri arasında, en önemlileri olarak şunlar sayılabilir: Sümerlerin çivi yazısı, Mısır hiyeroglifleri, figüratif ve soyut işaratlerin bir arada kullanıldığı Girit yazıları, zamanla hece işaretlerine dönüşen Hitit yazıları, sözcük ve hece işaretlerinin karışımı olan İndus Vadisi yazısı, Paskalya Adası yazısı, Kuzey Avrupa’da gelişen Runik yazılar, I-Ching’in yin-yang felsegesi üzerine oturan on binlerce karakterli Çin yazısı ve  Kolomb Öncesi Amerika yazıları…
Her uygarlık, çevresine ve kültürel gereksinimlerine göre farklı yazı biçimleri geliştirdi. Piktogramlardan ideogramlara, fonogramlara ve alfabelere giden süreçte, soyutlama ve basitleştirme, evrensel bir gelişim çizgisi oluşturdu.

書法理所當然是中國傳統文化精粹之一， 與前現代書寫文化有著非常緊 密的聯繫。在 20 世紀中國普遍使用鋼筆、 圓珠筆及鉛筆之前， 理論上任何將 漢字書寫到一定美觀效果的字跡， 都可以叫做"書法" 。尤其是中古時期 (3 到 10 世紀) ， 名家字跡並不一定是那種後來流行的完整格式的書法作品， 如某書 家以某種書體鈔寫詩詞獻給某人。據虞龢 (約 420-約 480) 《論 書 表》 (470 年) 、 陶弘景 (456-536)與梁武帝 (蕭衍， 464-549， 502-549 年在位) 《陶隱 居與梁武帝論書啟》 (6 世紀初) 、 竇臮 (生於 8 世紀上半葉) 《述書賦》 (775 年 成書) 等書法鑒藏的基本材料可知 ① ， 幾行字的殘紙也足以被當作墨寶。也就是 説， 書面交際與書法的關係非常的緊密， 任何識字的人都有可能成"書法家" 。 因此， 早在 8 世紀下半葉的唐代文人竇臮討論書法史和鑒藏史的時候， 把 "書寫" 當作士人之所以立言和仕官的首要工具和媒介 ② 。 理所當然， 書法與識字 之間的關係在印刷術尚未普遍使用的中古時期尤其緊密， 歷代圖書著録都把書 法與文字學文獻分作一類就是這種情況最明顯的反映。朱長文 (1039-1098) 編纂書法文獻纂輯《墨池編》 (成書於 1074 年)的第一個分類是"字學" ， 其中

In the opening of “The Metamorphosis,” Kafka bluntly declaring that the protagonist, Gregor Samsa, transforms from a diligent young man into a despicable and idle insect. The author turns absurdity into reality with just a few words, leaving us and Gregor to live a bizarre and surreal everyday life and question how to find meaning amid overwhelming change. More than a hundred years later, artist Leung Mee Ping’s exhibition “Souvenirs de Choses” continues Kafka’s inquiry through a series of works depicting insects and dust—intentionally or unintentionally. However, Leung does not sever the connection between the human world and the realm of insects as Kafka did. Instead, she brings back the trivial “things”—flies, fleas, ant corpses, and dust—and questions the weight of their lives. Her works either depict exaggerated and distorted proportions or focus on tiny details, silently observing the universe of microorganisms. They prompt the audience to look at a spider in its dull, compound eyes, listen to the sighs of dust at deserted temples, and occasionally measure the passage of time through the ants’ perspective. In her works, things move, stay still, and feel heavy or light. However, between the visible and the invisible, they involve here and there, the mundane and the sacred, the minuscule and the magnificent, taking actions and doing nothing, and touch upon the meanings of the existence and non-existence, and the real and virtual.

This exhibition can be seen as Leung Mee Ping’s allegory of time, inviting the audience to wander within and measure the weight of time in our ever-changing phenomenal world.

With the discovery of Dunhuang manuscripts in the early 20th century, modern academic research on the history of Chan Buddhism began to unfold. One of the most significant discoveries was the departure from the entrenched position of the Southern lineage within traditional Chan histories. It was fully recognized that the orthodoxy of the Southern lineage was not established as claimed in the traditional records, which asserted it was determined by the Fifth Patriarch Hongren (602-675) through Dharma transmission and robe bestowal. Instead, it emerged as the result of several generations of continuous operation, ultimately standing out from among the various lineages of Chan Buddhism. However, despite scholars confirming that the Southern lineage had monopolized Chan transmission by the late 9th century, there remains disagreement on the specific time and the means through which it gained its advantageous position in transmission. This paper argues that although existing theories have their insights, they often lack sufficient material for readers to compare and judge the rise and fall of various lineages effectively. Therefore, it proposes to return to the most intuitive method by collecting the names of key Chan figures from the beginning of the 8th century, when the debate over the orthodox lineage of Chan began, to the late 9th century. Then, it will organize the chronological sequence to examine the scale and distribution of each lineage at different time periods, aiming to establish a basic model of the growth and decline of various lineages. Finally, using this as a guide, it will attempt to unearth materials from the literature that can confirm the rising and falling curve, aiming to propose more convincing hypotheses. This paper will argue that the ultimate rise of Southern Chan was likely unexpectedly catalyzed by the political event of the Huichang persecution of Buddhism. In other words, this trajectory was not necessarily inevitable but rather the accidental result of various circumstances coming together.

Printed in 1544, Gujin shuohai 古今說海 (A Sea of Tales from Past and Present; hereafter GJSH), was a distinct example of the genre of congshu 叢書 (collectanea). Thirteen collators are listed, nine of whom are also noted for their contribution of texts from their own collections. They were all connected in kinship or officialdom to Lu Shen 陸深 (zi Ziyuan 子淵; 1477–1544), a renowned official, calligrapher, poet, and bibliophile of Songjiang 松江 (today’s Shanghai) whose family owned the Yanshan Academy 儼山書院 that published GJSH. This congshu therefore presents an exemplary case to
study how book-collecting and private publishing in early sixteenth-century Songjiang enabled its local literati community to perform their cultural authority – alternative to officialdom – in collecting and curating the narrative space of heteroglossia drawn from a miscellany of sources, social registers, and paratexts.

The affiliation of text and visual material in the Chinese calligraphic tradition has a rich history informed by ancient models and continual innovation. My thesis explores the Northern Sung dynasty calligrapher Mi Fu's (1051-1107) appropriation and contention of the legacy of the Jin Dynasty calligraphers Wang Xizhi (307-365) and Wang Xianzhi (344-388), both icons in the history of Chinese calligraphy. Following the Wang's rise to fame in the fourth century, historical texts delineate the importance of the father, Wang Xizhi, and discredit the son, Wang Xianzhi. Over half a millennia later, Mi Fu boldly negated this claim, asserting that Wang Xianzhi's father could not compare to his son's "transcendent and untrammelled" perfection. 1 My research regarding Mi Fu's study of the Two Wangs brings forward Mi Fu's disruption of the conventional adherence to the father's style, demonstrating Mi Fu's appropriation of the calligraphic model of Wang Xianzhi. As a scholar-official, Mi Fu's manipulation of the foundations of calligraphy was a daring transformation of calligraphy into a form of individual expression. Resulting from his study of past calligraphic models Mi Fu developed a distinctive approach to calligraphy. This is exemplified by Mi Fu's pivotal work Letter About a Coral Tree. Informed by Francois Jullien's theory of detour and access, I discuss Mi Fu's stylistic development as an oblique approach guided by ingenious detours. Furthermore, I situate Mi Fu's manipulation of text through Derrida's theory of writing and difference. In conceptualizing Mi Fu's work in this way I consider both the ideological and technical innovation of Mi Fu's calligraphic oeuvre in eleventh century China.

The affiliation of text and visual material in the Chinese calligraphic tradition has a rich history informed by ancient models and continual innovation. My thesis explores the Northern Sung dynasty calligrapher Mi Fu's (1051-1107) appropriation and contention of the legacy of the Jin Dynasty calligraphers Wang Xizhi (307-365) and Wang Xianzhi (344-388), both icons in the history of Chinese calligraphy. Following the Wang's rise to fame in the fourth century, historical texts delineate the importance of the father, Wang Xizhi, and discredit the son, Wang Xianzhi. Over half a millennia later, Mi Fu boldly negated this claim, asserting that Wang Xianzhi's father could not compare to his son's "transcendent and untrammelled" perfection. 1 My research regarding Mi Fu's study of the Two Wangs brings forward Mi Fu's disruption of the conventional adherence to the father's style, demonstrating Mi Fu's appropriation of the calligraphic model of Wang Xianzhi. As a scholar-official, Mi Fu's manipulation of the foundations of calligraphy was a daring transformation of calligraphy into a form of individual expression. Resulting from his study of past calligraphic models Mi Fu developed a distinctive approach to calligraphy. This is exemplified by Mi Fu's pivotal work Letter About a Coral Tree. Informed by Francois Jullien's theory of detour and access, I discuss Mi Fu's stylistic development as an oblique approach guided by ingenious detours. Furthermore, I situate Mi Fu's manipulation of text through Derrida's theory of writing and difference. In conceptualizing Mi Fu's work in this way I consider both the ideological and technical innovation of Mi Fu's calligraphic oeuvre in eleventh century China.

本文以張書旂1940年創作並贈予美國總統羅斯福的《百鴿圖》為研究核心，重新審視此畫在中美文化外交中的象徵意義與實踐功能。不同於單純的外交禮品，張書旂在創作中主動引入「鴿子＝和平」的西方視覺意象，並融合中國傳統花鳥畫語彙，建構出一種兼具國族風格與國際視野的藝術語言。本文主張，《百鴿圖》作為一種感性的社會媒介，不僅傳遞中華民眾對戰時和平的渴望與對羅斯福的敬意，也嘗試透過視覺隱喻激發跨文化共感，在藝術作品的情感張力與文化認同之間展開積極的互動。畫面中百隻白鴿的翔集，突破中國古代物種圖譜的傳統框架，寓意普世和平的願景，是一次面對全球危機背景下，民族性與世界性共構的創新表達實踐。

This paper attempts to use a delta robot's structure and reliable coordinates to develop a self-learning Chinese calligraphy-writing system that requires precise control. Ideally, to achieve humanlike behavior, a delta robot can learn stroke trajectories autonomously and present the stroke beauty of calligraphy characters. Unfortunately, state-of-the-art approaches have not yet considered the presentation of stroke beauty resulting from angles of rotation and tilt of the brush. This paper presents an integrated system consisting of a stroke processing module, a hypothesis generation net (HGN) learning model with self-learning capability, a delta robot, and an image capture module. Our approach utilizes both the stroke trajectories from the stroke processing module and angles information from the HGN learning model to automatically produce five degrees of freedom action instructions. Based on the instructions, the delta robot completes calligraphy writing. Then, the image capture module provides feedback to the writing system for error calculation and coordinate correction. We utilize the mean absolute percentage error to verify the performance of the writing results. A correction algorithm and linear regression were used to improve the error correction results (less than 2% error). After several cycles, the written results approached the target sample finally. Consequently, the written results produced by the delta robot prove that our proposed system with learning ability can write Chinese calligraphy aesthetically.

The study of the vernacular discourse of professional groups promises rich insights into terminology usage, tenor dynamics, and ideas about the field.
This research is stimulated by the inquiries of the arts and culture museums’ audiences eager to discover current attitudes towards traditional Chinese arts within the Sinosphere.
It compares the Putonghua discourse of two groups of Chinese artists: established painters and calligraphers from the PRC and online content creators at various career stages. It examines their attitudes toward traditional painting and calligraphy and the language devices they use to express these attitudes, identifying both similarities and differences in ideas and speech tenor. The multimodal aspect of online publication is considered too.
The study reveals a key difference in attitudes: established artists view artistic practices as "hard work," while online creators frame them as a “source of enjoyment”. Linguistically, online creators avoid archaic grammar; speak in a neutral tone to appeal to broader audiences, they occasionally use archaic lexes in artistic names. Established artists frequently employ archaic vocabulary and grammar deriving from the prestige language of wenyan.
Yet similarities prevail over differences. Both groups take pride in their artistic heritage, viewing their art as a marker of patriotism and a device of self-perfection. Rhetorically, both use metaphors from other industries and create puns. Precision in artistic terminology is highly valued by both groups and their audiences, as it signals professionalism and enhances communication. Both groups enrich their discourse by using synonyms for common hypernyms.
Using inductive methods, these findings provide qualitative characteristics of contemporary Chinese-language discourse on traditional painting and calligraphy. This discourse demonstrates richness, adaptability, effectiveness in community building, and potential for cross-cultural communication. The summary of its messages translated into Ukrainian may help the Ukrainian audience get a deeper understanding of the artistic processes in the Sinosphere.

Dunhuang: China’s traditional northwest frontier and overland conduit of exchange with the Old World. Jao Tsung-i: China’s last great traditional man of letters, polymath, and pioneer of comparative humanistic inquiry during Hong Kong’s global heyday. Jao and Dunhuang had a special relationship that this book makes accessible in English for the first time. Inside, Jao proposes an entirely new school of Chinese landscape painting, reconsiders Dunhuang’s oldest manuscripts as its newest research field, and explores topics ranging from comparative religion to medieval multimedia

The Backbone of Chinese Traditional Art Shufa, also known as Chinese calligraphy, is an esteemed and ancient art form that transcends mere writing. It embodies a profound and cultural significance within the broader Chinese culture. Rooted in over one thousand years of history, this art form involves the skilful manipulation of the simple tools of a brush, ink, and paper to create characters that express emotions and beauty. "In the artistic language of calligraphy, it is not only the content of text, what is important; is that there is also the formal beauty of the text. No matter if the characters have been written to the paper, or carved to the stone, if they are a part of the painting or independent artwork. (Zhang 105) In Chinese culture, calligraphy is held in an exceedingly high regard, and is often considered the highest traditional Chinese art form there is. It is not only regarded as an art form but as an

My thanks go to, first and foremost, Sung-Sheng Yvonne Chang, who not only acted as my advisor for this dissertation, but also offered me steady guidance as well as generous support throughout my graduate years. Without her encouragement, I would not have been able to take up this very challenging project in the first place. I also want to thank my wonderful committee members, Seth Wolitz, Neville Hoad and Richard Shiff, who inspired me with their own brilliant works in their respective fields, and who helped to set me in the right course at different stages of my writing process. My very special thanks go to Katharine Burnett, whose expertise was indispensable for my line of research, and who went out of her way to give me more attention and assistance than I could have possibly asked myself. University of Texas at Austin assisted me in many ways during my graduate studies. I am especially grateful for the unwavering support from Elizabeth Richmond-Garza, who warmth and leadership helped me through the most difficult times. Finally, I am deeply grateful to my family members who, though far away from me, never failed to make me feel that they were by my side. I want to also extend my thanks to all the friends who gave me moral support, encouragement, and much-needed v diversions during the past years. All of which, no doubt, makes my years of research and writing possible and productive. vi

The previously unexplained verses of 天符經 have now been interpreted through astronomical diagrams. The meaning of the Trinity Principle has been understood from an astronomical perspective. Stripping away all religious mysticism, this interpretation has clearly revealed the entire constellation map of the night sky.

藝術是美感的表達，涵蓋範圍很廣。本期四篇文章討論到繪畫、雕塑、建築、音樂、攝影等領域。今年適逢伯恩斯坦百歲冥誕紀念，侯宏易老師生動地介紹了這位傑出音樂家的生平與成就。龔詩文老師記錄了他參訪印度六個重要文化遺址的見聞，精彩呈現出佛教、印度教、耆那教的雕刻與建築藝術。張雲凱老師分享他近三十年豐富的攝影經驗，提出「硬體功能」、「美學與構圖」、「看見當下」三大要領，闡述攝影的創作訣竅。鄒淑慧老師從古希臘的「藝術以自然為模本」觀念談起，娓娓道來西方藝術家在歷經超過一千年的漫長歲月後，才逐漸藉由繪畫走進真正擁抱自然的新境界。

晚唐至宋元時期的佛教文獻中有四份記載了二十八宿的星點圖
和星神圖：唐晚期及以後的《 七曜星辰別行法》( 成書於805 年之後)、
日本奈良藏《 熾盛光佛頂大威德銷災吉祥陀羅尼經》( 成於 972 )、高
昌勝金口石窟出土回鶻時期(866-1383) 的星宿圖壁畫，和藏於日本京都
教王護國寺的《 火羅圖》( 成於1166 )。這四份文獻的特殊之處在於星
點圖和星神圖結合在一起。墓葬星圖、天文星圖和天文星占文獻中，僅
有中國傳統二十八宿的星點圖；而對域外二十八宿星點數量和形狀的描
繪衹存在於漢譯佛經的文字敘述中，並無具體的圖例。同時，帶有域外
元素的二十八宿星神圖主要出現在歷代流傳的《 五星及廿八宿神形圖》、
佛教星曼荼羅和熾盛光佛圖像中，且一般不包含星點圖。這四份佛教文
獻將中國傳統的星點圖和源自域外的星神圖結合，雖然存在許多配置錯
誤，但最重要的作用在於賦予星點圖不同於以往純粹天象意義、類似於
星神圖的神力，同時突出了各星宿在宗教信仰和實踐儀式中的個體差異
性。但自此以後，星點圖的神力主要體現在道教儀式和實踐中；而星神
圖的威力主要展現在佛教和民間信仰中，但這些信仰及其實踐多以整體
性突出二十八宿圖像的功能，其差異性逐漸減弱。

Ce n’est pas la première fois que le Centre Pompidou présente une exposition collective sur l’art contemporain chinois. En 2003, elle lui a déjà consacré l’exposition Alors, la Chine ?, et d’ailleurs, toujours à la Galerie Sud. Empruntant son titre à un article de Roland Barthes publié sur le Monde au 24 mai 1974 à son retour de Chine, cette exposition pluridisciplinaire a réuni plus de 50 artistes qui sont issues non seulement du domaine des Arts plastiques, mais également de l’architecture, du cinéma et de la musique.
Si l’exposition de 2003 a bénéficié du patronage des autorités officielles chinoises et a été organisée à l’occasion de l’Année de la Chine en France et s’inscrit dans une série d’événements en commémoration de 40ème anniversaire des relations diplomatiques franco-chinoises, l’exposition 目 Chine : une nouvelle générations d’artistes tombe sur une année autant significative, à savoir le soixantième anniversaire des relations diplomatiques des deux pays, mais aussi la fin du premier cycle du partenariat du Centre Pompidou avec le musée West Bund Museum à Shanghai.

Le titre de l’exposition a adopté le caractère chinois 目, littéralement « l’oeil » comme mot clé. Il peut également signifier le regard. Il y a sûrement une volonté de créer un dialogue avec son antécédent Alors, la Chine ? il y a 20 ans au Centre Pompidou. Car dans l’exposition de 2003, si le caractère 间, littéralement « fente », « intervalle », signifiant également « entre-deux », ou « écart », n’est pas présent dans le titre même, il est omniprésent : sur l’affiche, dans la salle d’exposition ou sur la couverture du catalogue de l’exposition.

À part le Mu qui est présent communément dans les deux versions des titres, les commissaires d’exposition ont adopté des titres différents pour la version française et la version chinoise.
Pour le titre français, l’accent est mis sur « une nouvelle génération ». Une nouvelle génération, est-ce qu’il veut dire une ancienne voire des anciennes générations ?
Pour un pays où l’art contemporain a relativement une courte histoire, si on aime bien présenter l’art contemporain chinois par les générations, est-ce que cela veut dire que la catégorisation par tranche d’âge est particulièrement efficace dans un pays qui se transforme à un rythme exponentiel depuis quarante ans ?
Et enfin, en quoi consiste précisément cette nouvelle génération ?

Quant au titre chinois, le sens littéral est Miroir de la Chine. L’accent est mis sur l’image de la Chine. Dans un cadre du partenariat officiel, ce n’est bien sûr pas du tout étonnant. L’exposition est souvent attribuée à une mission diplomatique.
- Mais tout d’abord, qui a le droit de représenter la Chine ? Comment peut-on assurer que ce choix est pertinent pour représenter la Chine ? Les artistes qui n’ont pas été choisis, ou qui ont été censurés ne sont-ils pas plus placés pour donner un portrait de la Chine ?
- Ensuite, est-ce qu’il y a une image de la Chine déjà véhiculée par l’ancienne génération d’artistes chinois que cette nouvelle génération souhaite la corriger, ou en tout cas l’actualiser ?
        - Enfin, si on revient sur le 目, c’est le regard de qui ?

Conferenza svoltasi il 31 marzo 2025 presso il Dipartimento di interpretariato e traduzione dell'Università di Bologna nell'ambito del progetto "Write. New forms of calligraphy in China: A contemporary cultural mirror" diretto e coordinato da Adriana Iezzi

This article offers commentary on issues related to the discipline of Chinese classical studies (中國古典學) from the perspective of a Hellenist. In my view, the definition of Chinese classical studies should strike a balance between resisting “de-canonization” and avoiding excessive disciplinary narrowness. In terms of scholarly practice, the field can move beyond the “dismantling–reconstruction” (破除-重建) model by emphasizing both evidence and methodology. It also has the potential to develop nuanced philological methodologies that could make valuable contributions to other disciplines of ancient studies in the era of globalized classical scholarship. To illustrate this point, I draw from my own academic background to reassess Wang Guowei’s “Method of Dual Evidence”, which, in my view, contains a fallacy of circular reasoning, and Hu Shi’s discussion of the “Laozi question”, the significance of which has been largely overlooked.

This article speculates on the artistic rationale and mediumistic significance of Xu Bing's pseudo Chinese script and Sinified English script. The former demonstrates that a text does not have to be comprehensible to be functional. The latter is provocative in the sense that it gives an alphabetic language a seemingly pictographic and calligraphic look, and points in the direction of the potential becomingparatactic of an intrinsically hypotactic language. It may not be a pure coincidence that Xu Bing's Sinified English emerged in a post-alphabetic age. You have to open up words, break things open, to free earth's vectors.

The "Sinographic Forays into the Epiverse" conference, held at INALCO Paris in October 2024, brought together scholars of epigraphic cultures in East Asia from different branches of the social sciences and humanities. The event aimed to foster collaboration and define new research paths on stone inscriptions and inscribed landscapes. Ultimately, the goal was to improve understanding of these artifacts and their historical and cultural significance and to share methodological reflections across the diverse disciplines the invited scholars represented.

The notion of the Epiverse conveys the idea of an interdisciplinary research field aimed at a holistic study of the epigraphic fact. As a systematic tool, it aligns with an ontology based on the act of inscribing and the relations it weaves among objects, places, persons, and time. Inscribed landscapes, for example, are part of the Epiverse, where specific physical contexts and writing supports, along with various forms of writing and modes of reproduction and circulation, challenge the limits of existing approaches to Chinese epigraphy.

The conference was set against the backdrop of the ALTERGRAPHY project's research on medieval inscribed landscapes in Shandong province. Framing the conference, an exhibition showcased the first fieldwork campaign of the project. It offered a tangible representation of the project's research on inscribed landscapes. Complementing the theme, Sakata Genshō delivered the keynote lecture, reflecting on his lifelong dedication to the inscriptions on the four mountains. He shared his experiences visiting the sites in the early 1980s. He discussed the changes he has witnessed over time, emphasizing the importance of fieldwork and the enduring allure of these inscriptions.

Eight roundtables explored diverse facets of epigraphic research, from the use of digital tools and collaborative platforms to the challenges of describing calligraphic variation and style, the relationship between inscriptions and space, the dissemination and changing access to epigraphic knowledge over time, the transformation of mountains in China, the role of epigraphy in shaping individual and collective identities, the challenges of preserving epigraphic heritage, and the need for new methodologies to study the sensorial aspects of stone inscriptions and their reproductions.

This report summarizes the conference to facilitate further reflections on its key themes.

Większość uniwersalnych religii posiada swoją świętą księgę: judaizm Torę, chrześcijaństwo Biblię, islam - Koran. Buddyzm tymczasem nie posiada nawet pojęcia "świętej księgi". Nie ma jednego tekstu wspólnego dla wszystkich wyznawców. Choć Kanon palijski jest respektowany przez wszystkie buddyjskie tradycje, jest on nieporównywalnie obszerniejszy od jednej świętej księgi innych religii, a także nie stanowi bazy i ostatecznej wykładni dla wszystkich wyznawców. Artykuł stanowi próbę wyjaśnienia uwarunkowań tej sytuacji oraz przedstawia projekt utworzenia jednotomowego zbioru buddyjskich tekstów reprezentatywnych dla poszczególnych buddyjskich tradycji. Projekt ten rozpoczął się w 2009 roku w Bangkoku i zakończy prawdopodobnie w 2013 publikacją pilotażowej wersji takiej Księgi.Most world-wide religions have their holy books: Judaism-the Torah, Christianity-the Bible, and Islam-the Koran. In Buddhism, on the other hand, there is neither a single one nor a collection of such scr...

論文藉由上海圖書館館藏《魏稼孫日記殘稿》展開探討魏錫曾金石鑒藏活動。 此日記殘稿爲魏錫曾在清同治六年(1867)與同治八年(1869)的日記殘稿，考察 稿本内容，對照其與友人尺牘、日記，探討金石鑒藏家魏錫曾與友人趙之謙、沈樹 鏞、周星詒、丁丙的交游，延伸出對碑拓的賞鑒。魏錫曾日記中，除了翔實地記録 日常生活瑣事，大部分與金石鑒藏活動相關，如搜集碑拓、印章與印譜、考訂金石 文字，并通過抄録、雙鈎碑刻拓本等方法，留存金石文字。通過魏錫曾借與友人各 件的目録，可知其收藏的碑帖、金石著録等，對于碑拓傳藏提供了重要的文獻資 料，具有極高的價值。論文還結合日記殘稿加以考察，試圖勾勒出魏錫曾補編校勘 《金石萃編》時的形象。

Used by the Westem world for almost three thousand years, Latin Alphabet has developed and changed during this process and has had an important role both technically and aesthetically in the fields of communication and graphic design. Adopted by a law in November 1928 and replacing the Arabic alphabet used by the society for communication for centuries, Latin alphabet has been the official alphabet of The Republic of Turkey since then. In order to leam the correct use of the Latin alphabet, which is also a part of the education in graphic design, and to be able to come up with new aesthetic and creative approaches, it is essential to have a soıınd undersıanding of the plaee and importance of lettering and typography in the westem culture. Such an ıındcrstanding is possible only through "absorption," "evaluation" and "seeing" in the leaming environment. not through copied applications. Since it is not possible to have opininons without being infonned, theoretical background to be acquired through the L..:ducationaJ process will serve as a base for the aesthetic awareness and creative design.

According to the conceptual metaphor theory, a metaphor is not just a rhetorical device but rather a fundamental conceptual framework operating at the level of thinking. When one describes a painting as "musically moving" or "melodious," one transfers a conceptual framework of music from its typical domain into a new domain where neither musical movement nor melody takes place. In this light, the extensive use of musical metaphors based on qì-dynamics such as "rhythmic vitality" or "literary vitality" for art criticism in early China can be deemed as conceptual mappings between music and other arts. Also, musical metaphors in Chinese aesthetics evidently work as guiding principles in individual art theories.

This paper aims to comparatively study the construction philosophy of residential buildings in Mount Tai and Mount Huang, analyzing the differences in construction concepts, social and political factors, and natural factors. By exploring the Cheng-Zhu thought and commercial thinking in Huangshan residential buildings, and the Confucian thought and small-scale farming thinking in Taishan residential buildings, this paper reveals the deep-seated reasons and their influences on the construction philosophy of residential buildings in these two regions.

Calligraphy is revered as embodying the cultural and aesthetic values of traditional China and holds first place among Chinese arts. This article explores how certain translations began to appear, circulate and be accepted over the past decades. It is noticed that "repeated use" and de facto "popularity" of certain translations can be determining factors in evaluating the adequacy of the translation. By prioritizing the effect of cross-cultural understanding, this study does justice to some of the existing translations that have been constantly doubted by previous scholars. The existing translations in question, as new "signifies", have been re-contextualized and thus they gain increasingly more cultural meanings of the "signifieds".

Among Vietnamese ware by the 14 th-15 th century, the golden age of their export, one finds a very unusual ware in particular forms or motifs such as glazed figurines and wall tiles. These kinds of wares diverged greatly from the Vietnamese or Chinese ceramic traditions. One can actually compare them with findings from Java in Indonesia, whereas almost no finds have been reported from Vietnam itself. Hence, it seems very probable that these unusual wares were manufactured by special order for the market in Java. As a typical example, in this article the author discusses the origin of the image of "Hanuman" polychrome figurines based on an analysis of sherds found at the Trowulan archaeological site and sculptures/reliefs at the Panataran Temple in East Java. Moreover, the author attempts to reconstruct the purpose of these figurines ordered by the high society in Trowulan, the capital of the influencial power Majapahit Kingdom.

This article examines the 1965 debate over the authenticity of Wang Xizhi's "Preface to the Lanting Collection" (Lanting jixu 蘭亭集序). It argues that the seemingly academic debate in fact provided an opportunity for Mao Zedong and his associates to launch the Cultural Revolution. Although the Lanting Debate eventually failed its political mission, it created a false polyphony that encouraged intellectuals to engage in the following debate over Yao Wenyuan's class struggle reading of Wu Han's play, The Dismissal of Hai Rui, that marked the beginning of the Cultural Revolution. The failed Lanting Debate thus contributed to the onset of the Cultural Revolution in its indirect and unique way. In addition to this, the Lanting Debate demonstrated the vulnerability and complexity of the revolutionary scholarship during the 1960s.