A study On Calligraphy Style of Chin Non

• Main Authors: Liu-ja-haw, 劉家華
• Other Authors: 蔡長盛
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/47466988286484779597

碩士 === 國立新竹教育大學 === 美勞教育學系碩士班 === 92 === A study On Calligraphy Style of Chin Non The purpose of this thesis was to explore the calligraphy style of Chin Non.　 Based on the analysis of traditional discourses, visual perception psychology, aesthetics, and artistic sociology, the researcher investigated the modernity of Chin Non's artistic calligraphic forms. Chin Non's early works of calligraphy followed the style of past master calligraphers; he was also influenced by the li-shu (clerical script) of his contemporary Cheng Fu (鄭簠).　However, preventing himself from simply imitation, Chin Non turned to learn from the works of epigraph of Han and Wei Dynasty, as well as religious scripture calligraphers. He figured out from kai-shu (standard script), xing-shu (semi-cursive script), and li-shu, the nature of simplicity to be the key element of his works. He practiced the principles of repetition, balance, proportion, contrast, and unity of aesthetics to form and design the whole picture. He thereby fused them to actualize his unique style of calligraphy. Chi-shu (漆書) is the famous characteristic of Chin Non’s calligraphy.　He pressed the brush point in a planiform way, tilted the brush on his side, and moved the brush ruggedly.　In this way the strokes were rough and complanate, with broad dash but linear perpendicular downstrokes.　They appeared to be the “mass” in Modern Arts.　His strokes with strong contrasts of big and small, long and short, and angularity and blade, “betray” the traditional fen-shu (分書) and li-shu (clerical script), which were round and blunt.　Generally speaking, strokes written in black inks are apparent in Chin Non’s representative calligraphic works.　Even so, the significance of light side of the brushwork is highlighted.　The characters of the brushwork of Chin Non are independent and with equal importance, achieving a visual beauty of “counting the light side as heavy side in places.”　Practicing the interchangeable relationship of “figure and ground” between dots and space, and/or lines and characters, he constructed his calligraphic works with senses of tension between zoom-in and zoom-out, mobility and inactiveness, fake and truth, convex and concave, upward and downward, thus revealing a sense of power.　 Time plus the tri-dimensional space of figure, background, and perspective become a quad-dimensional visual space.　This is one of the main artistic characteristics of Modern Arts.　It reflects the depth and truthfulness of the spatiotemporal conceptions of modern Capitalism.　In other words, Chi-shu, the unique calligraphic form of Chin Non, represents its artistic sense of semi-Modern Arts. Reflecting on the calligraphic concepts in modern times, the researcher wished that each calligrapher could free from the calligraphy standards, develop his or her own personal style, originality, and create an unique style of calligraphy to represent the spatiality of our time, for “space is the constitution of artistic form.”