The Aesthetics of Artistic Formulation of Calligraphy Structure in Chinese Painting
Abstract
Abstract
This research is concerned with studying (the aesthetics of the artistic formulation of the structure of the line in Chinese painting), and includes four chapters. The first chapter is devoted to explaining the research problem, its importance and need for it, its goal, its limits, and defining the most important terms included in it. The research problem was determined by answering the following question: What are the aesthetics of the structural formulation of the structure of the line in Chinese painting?
The importance of the current research lies in shedding light on the components of the artistic formulation of the structure of line in the visual arts, specifically the art of Chinese photography, for its expressive and aesthetic values. It also monitors the most prominent pictorial scenes constructed by line drawing, which constituted a phenomenon evident in Chinese photography. It highlights its specificity, and reveals the environmental, intellectual and aesthetic influences of this type of art. The need for the current research is evident in the fact that this topic has not been studied within the scope of Chinese photography, which justified the researcher to address the topic and reveal its structural data, to achieve the desired benefit. It also supports local and Arab public and specialized libraries with a new and modest scientific effort, and benefits researchers and those interested in artistic, aesthetic and critical studies by reviewing the results, conclusions, recommendations and proposals of the research.
The research aims to identify the aesthetics of the artistic formulation of the structure of the line in Chinese painting. The research limits include three aspects: Objectivity: which was represented by studying the aesthetics of the artistic formulation of the structure of the line in Chinese painting, Temporality: according to the chronological sequence of the ruling dynasties, which included the (10th, 11th, 12th, 13th and 14th) centuries, and Spatial: China. As for the second chapter, which is the theoretical framework, it contained two sections. The first section dealt with (structural characteristics of the line in the artwork), while the second section dealt with (characteristics of Chinese painting). The theoretical framework ended with a set of indicators.
The third chapter was devoted to the research procedures, which included the research community of (20) images, the research sample of (5) models, the research tool, the research methodology, and then the analysis of the sample models.
The fourth chapter included the research results, conclusions, recommendations, and suggestions, and finally a list of sources, appendices, and figures. Among the results reached by the research are the following:
1- Chinese photography scenes were characterized by aesthetic artistic formulations that differ from their counterparts in other arts at the level of compositional construction in general and the structure of the line in particular, according to the intellectual, stylistic, and technical frameworks that determine the path of the Chinese photographer and express his ideas and goals.
2- Chinese photography revealed the photographer's ability to control the active structures that contribute to the formulation of pictorial scenes, especially the structure of the line, by manipulating its properties such as accuracy, thickness, type, direction, meaning, and location, as in all models of the research sample..
