Современная китайская каллиграфия в научных дискуссиях конца ХІХ – начала ХХІ века

Abstract

В статье охарактеризовано новые тенденции в области китайской каллиграфии, которые берут свое начало с середины 1980-х гг. ХХ в. Исследовано основные направления в дискуссии, развернувшейся вокруг поисков новейших форм каллиграфии. Рассмотрено основные публикации китайских практиков и теоретиков в области каллиграфии и их наиболее известные проекты.

У статті охарактеризовано нові тенденції в галузі китайської каліграфії, що беруть початок з середини 1980-х рр. ХХ ст. Досліджено основні напрями в дискусії, що розгорнулася навколо пошуків новітніх форм каліграфії. Розглянуто основні публікації китайських практиків і теоретиків у галузі каліграфії та їхні найбільш відомі проекти.

The article deals with new trends in Chinese calligraphy, which originate from the mid 1980’s of the 20-th century. The purpose of the study determines the choice of research methods, ones of verification and comparative analysis of the text. The problem of the collision of tradition and innovation is characteristic of Chinese culture, which is evidenced by the discussion around searching for new forms of calligraphy that started in a theoretical and practical plane. The article is based on the description of that discussion in the studies of famous Chinese practitioners and theorists in the field of calligraphy. Generally, it can be reduced to two main positions. Some practitioners and theorists, while not denying the change of the situation at the turn of the millennium and the need to find new means of expression, call to construct them on the traditional basis characteristic of the known samples of Chinese calligraphy. Their opponents call to boldly depart from tradition, focusing on the European avant-garde art, both theoretically and in terms of visual images. At the same time, there is also an important platform uniting the two opposing camps which is not denied by any of the parties. It is understanding the synthetic nature of calligraphy related to the different types of art. On this basis, various “plottings” of calligraphy are possible including in the field of graphic design. The article, using concrete examples, also touches upon the search for new technical and expressive means of calligraphy including the area of design. The author cites the names of famous contemporary artists in the field of reforming traditional approaches to calligraphy, considers their most famous projects.