![]() ![]() ![]() A vivid debate on Contemporary Chinese Calligraphy is involving art critics in China nowadays. Contemporary Chinese Calligraphy has gradually lost its connection with Chinese language and has gradually strayed from the concept of linguistic unity which comprehends sound, signified and graphic sign. Since the mid-1980s Chinese Calligraphy Art has undergone a radical change and has opened itself to experimentation. Keywords: Shodō, calligraphy art, Ikebana, Rimpa, Walter Benjamin, Fredric Jameson, Zen, Enso, interactive art, extended mind, handwriting, motion-copying technology, virtual reality. Meanwhile, it also analyses the irreplaceable core of traditional aesthetics and the dilemma of interactive media artworks to show how the emerging technologies transform the traditional culture value from the analog to the digital, and suggest the new interpretation of ‘aura’ to retain in the postmodern age of ubiquitous media. However, following the rapid advance of technology and the permeation of digital media, there are several issues arose, such as : How can we evaluate ‘digital calligraphy’ and in which aesthetic standard? Without the mediacy of real brush and ink, can we express ourselves more directly by using fingers to write calligraphy on screens? How will the motion-copying system influence the relationships between masters, teachers, and students? By delving into threes dimensions-aesthetics, technology, and social institution, this thesis points out the lurking jeopardy of substituting new technology for traditional pedagogy. They intend to use this technology to educate the young generation. Besides, concerning the menace of losing traditional skills, researchers have developed the motion-copying system which can record the calligrapher’s movement precisely and reproduce faithfully as the original piece. ![]() In the other hand, media artists have been utilising audio-visual media to reinterpret the traditional aesthetics through emerging technologies, such as employing virtual reality technology to write the ‘spatial calligraphy’. In one hand, modern calligraphers begin to use different media to create ‘digital calligraphy’ and collaborate with programmers to produce new experiences. In the recent decades, artists and researchers have shown an increased interest in applying new technologies to traditional arts in Japan, especially in the field of calligraphy art, painting, and the Zen culture. ![]()
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