1 Department of Calligraphy, School of Fine Arts & Calligraphy, Sichuan Normal University, China.
Abstract
This paper examines the aesthetic nexus between the undeciphered ancient Shu “Ba-Shu pictographs” and contemporary “modern ink-image” creation within the context of Chinese calligraphy’s search for indigenous modern transformation. The Ba-Shu pictographs, as a non-textual visual sign system, offer rich visual resources for contemporary calligraphic innovation through their biomorphic forms, enigmatic spatial tension, and ritual functions beyond semantics. The core inquiry concerns the “translation” from archaeological signs to artistic language—not as formal imitation, but as a creative transformation of ancient visual principles into the formal and spiritual core of modern calligraphy via metallized brushwork, deconstruction and reconstruction of character structures, figure-ground chaos in composition, and holistic evocation of ancient Shu mystique. Through critical analysis of representative Sichuan-based calligraphers, this paper argues that such translation not only infuses modern calligraphic imagery with primitive, indigenous aesthetic vitality, but also constitutes a profound cultural retrieval, offering a legitimate pathway for Chinese calligraphy’s contemporary development rooted in its own civilizational depths.
Keywords: Ba-Shu Pictographs; Modern Calligraphy; Ink-Image; Visuality; Locality
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