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Fong 1999 narrates the history of early calligraphy as a series of great changes in the manner of European art history. Chiang 1973 lays out traditional Chinese beliefs about aesthetics and techniques. Japanese scholars have produced excellent research in the 20th and early 21st centuries, and researchers in the West have been writing on calligraphy history since the 1970s.Įach of these overviews has its own approach and strengths. Critical texts that assessed famous calligraphers appeared in the 4th century, and histories of calligraphy have been written continually from the 5th century to the early 21st century. In the late 20th century, Chinese calligraphy made a place for itself in the international art world, particularly through the incorporation of nonsense characters in multimedia installations. Calligraphy had a rich tradition until the 20th century, and after China’s turmoil ended in the late 1970s, the amateur scene burgeoned again. Calligraphers could practice their art purely for their own pleasure or self-expression, or their work could be done for payment or in exchange for goods and services. Since that time, when it began to be seen as expressive of its writer’s personality and character, calligraphy has been accorded the supreme position among the arts. Although mythic names are associated with the creation of each script type, there were no signed works of calligraphy until the Han dynasty.

Seal and clerical were relegated to decorative and monumental functions until they were revived as antiquarian modes in later times. In Qin the clerical script ( li 隸) came into being and flourished during the succeeding Han, whereas by the end of the 2nd century the modern script types of regular ( kai 楷 or zhen 真), running ( xing 行), and cursive ( cao 草) all had developed.

The archaic scripts gave way to the “large” seal script ( zhuan 篆) of the Zhou dynasty and the “small” seal script of the Qin. Over the next millennium, five major script types evolved. 1200 BCE, as seen on scripts on the incised oracle bones ( jiaguwen 甲骨文) and inscriptions cast into ritual bronze vessels ( guwen 古文) of the Shang dynasty. The precise moment Chinese characters were born is unknown, but a fully developed system was in use by c. Traditional calligraphers were less interested in mere beauty than in the ability of the gesture and the line to create images of aesthetic power and movement and in the paramount issue of upon whose writing they were modeling theirs. Calligraphy has no referent in nature, so all writing is modeled on that of another. Yet, the word “calligraphy,” from the Greek kalligraphía (beautiful writing), is something of a mistranslation of the Chinese term shufa (書法), which means “model writing,” or writing that is good enough to serve as a model.

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For information regarding other uses of Source Han Sans Traditional Chinese, see copyright and license details for Source Han Sans TW ExtraLight, Source Han Sans TW Light, Source Han Sans TW Normal, Source Han Sans TW Regular, Source Han Sans TW Medium, Source Han Sans TW Bold, and Source Han Sans TW Heavy.Calligraphy is the art of writing characters with a brush and ink.

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You're free to use it with your Adobe Fonts account just as you would any other font in the Adobe Fonts library. Source Han Sans Traditional Chinese is available via an open source license. Typefaces released as Adobe Originals are the result of years of work and study, regarded as industry standards for the ambition and quality of their development. Today the Type team’s mission is to make sophisticated and even experimental typefaces that explore the possibilities of design and technology. The Adobe Originals program started in 1989 as an in-house type foundry at Adobe, brought together to create original typefaces of exemplary design quality, technical fidelity, and aesthetic longevity.