The Influence of “POTI” Style on Contemporary Higher Calligraphy Education
DOI:
https://doi.org/10.54097/1d35kf69Keywords:
Calligraphy, Education, Explore, PITI, Tradition.Abstract
A definition of Wang Xianzhi's "POTI" in Shuyi by Zhang Huaiguan. The characteristic of "POTI" is to break the boundary between truth, action and grass, to blend a variety of writing styles, with its own characteristics, and to show the strong creativity of calligraphy. POTI has existed in ancient and modern times, the so-called "neither breaking nor standing". Chinese calligraphy higher education has made great progress after decades of development, but the current research on Chinese calligraphy higher education has not been fully developed, and the research mainly stays in the combing and basic skills training of five-body books. Contemporary calligraphy higher education should break the boundaries of five-body books, carry out creative practice on the hybridisation of calligraphy, and research and explore the calligraphy style in line with this era. Thus inject fresh blood into the contemporary calligraphy creation and expand the vast space.
Downloads
References
Cheng. (2016). Yang Weizhen's Research on Body Breaking calligraphy -- On his own calligraphy creation. (Doctoral dissertation, Southeast University).
Cheng. Research on Calligraphy Education in Henan Province during the Republic of China. (Doctoral dissertation, Zhengzhou University).
Hong. (2013). Reflections on the current situation of calligraphy education in colleges and universities. Education and Teaching Forum (33), 2.
Li. (2012). The artistic features and influences of Cao Zhi Temple Stele. Income calligraphy. Pages 55-58.
Li. (2018). Research on the history, Present Situation and development of Higher calligraphy education in China. (Doctoral dissertation, Shanxi Normal University).
Lin. (2017). The precise connection between higher calligraphy education and basic education under the new situation. Chinese Calligraphy (1X), 4.
Liu. (2018). The innovation and development of body-style calligraphy from Yan Shu. Art Review (5), 6.
Liu. (2022) The enlightenment of Wang Xizhi's calligraphic ideas on the formation of Wang Xianzhi's "Broken body book". Income art market (research). 2022.07. Pp. 92-93.
Liu. (2022). The influence and enlightenment of calligraphy education in Han Dynasty on contemporary calligraphy education. Shaanxi Education: Higher Education Edition (2), 95-96.
Lu. (2020). The present situation of contemporary higher calligraphy education. Calligraphy appreciation.
Ma. (2018). A study on Yu Yue's "Seal Style and official Style" handwriting -- Also on his concept of "beauty". Chinese Calligraphy (8X), 20.
Ma. (2022). Concept, Approach and Expression -- Zhao Mengd
« ¯ Calligraphy Guan Yu [Shuo Lu Xun Academy of Fine Arts. Shanxi Normal University. (2015). Present situation and countermeasures of contemporary calligraphy education. Art Observation (11), 4.
Shanxi Normal University. (2015). Present situation and countermeasures of contemporary calligraphy education. Art Observation (11), 4.
Sun. (2019). Perspectives on contemporary Higher calligraphy education research -- A case study of related articles published in Chinese Calligraphy. Chinese Calligraphy (14), 6.
Wang. (2020). Reflections on the course of "Calligraphy Philology" in today's higher calligraphy education. College calligraphy.
Wang. (2021). The methodological significance and practical value of "combination" theory on calligraphy innovation. Chinese Calligraphers and Painters, 000(009), P.74-81.
Xu. (2015). Research on calligraphy of Cao Zhi Stele. (Doctoral dissertation, Chinese National Academy of Arts).
Yan. (2020). Thoughts on body-breaking calligraphy -- A case study of the early Qin Licheng [Master]. Sichuan Fine Arts Institute.
Yang. (2020). Thoughts on five major problems in higher calligraphy education. Calligraphy Education, 000(006), P.8-13.
Yang. (2021). Looking Back at Wang Xianzhi: The destruction of body, the transformation of body and the reconstruction of the calligrapher's conscious spirit. Calligraphy (6), 2.
Zeng.(2011). Research on calligraphy education in colleges and universities in the new period. The third Academic Conference on Teaching Management and Curriculum Construction.
Zhang. (2014) Research on Wang Xizhi's "Broken Body" calligraphy [Master]. Chinese Academy of Arts.
Zhang. (2017). Some reflections on higher calligraphy education. Journal of Lanzhou University of Arts and Sciences: Social Science Edition, 33(4), 4.
Zhang. (2018). Heritage and development of tradition. Chinese Calligraphy (9X), 1.
Zhang. (2021). Synthesis Theory. Income calligraphy report.
Zhang. (2022). Composition of calligraphy. Rongbaozhai Publishing House.
Zhu. (2013). Adherence and Expansion -- Reflections on some issues in contemporary higher calligraphy education. Chinese Calligraphy (6), 4.
Zhu. (2016). Research on the status quo of contemporary Chinese Higher Calligraphy education. (Doctoral dissertation, Shandong Institute of Arts and Crafts).
Downloads
Published
Issue
Section
License
Copyright (c) 2024 International Journal of Education and Humanities
This work is licensed under a Creative Commons Attribution 4.0 International License.
