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modern Chinese calligraphy
give old art form a new lease of life
本文將從瑞士語言學家費迪南·德·索緒爾（Ferdinand de Saussure，1857~1913）和法國符號學家羅蘭·巴特（Roland Barthes，1915~1980）的符號學理論視角來探討筆者的作品表現。將文字符號化，文字或整篇文章的意義不再是其原本的意思，而代表筆者賦予的意義，成為筆者想傳達的意涵。將心理的不安、徬徨、糾結情緒融進作品裡，傳達筆者的感悟，作品欲以多元化表現形式與這個時代接軌，筆者查覺到自己是現代社會上的一份子，創作者的作品就是是一個與大眾交流的最佳媒介，而不是故步自封在自己的世界裡。
Will writing disappear in a foreseeable future? Will Chinese calligraphy art fade away? These two questions have aroused negative feelings in the writer's mind. Witnessing the progressive crumble of the firm and unwavering faith in life, the writer is beleaguered by such a gigantic doubt and enormous panic. In the modern days when Chinese calligraphy art is on the decline, the writer starts wondering whether Chinese calligraphy will be the next to disappear as time goes by. In the modern industrial society, writing by hand feels almost antiquated, not to mention the traditional Chinese calligraphy art, which is only appreciated by a few groups of people. The writer tries to analyze her own emotions, and this self-analysis process turns out to be a process of self-creation, which is filled with emotions and sentiments. Its presentation is free from the traditional form of Chinese calligraphy art, and becomes a breakthrough which differs from the writer's previous works. The writer expects that Chinese calligraphy art should not be limited to a minority of self-appreciating groups, instead it should be widely appreciated by more audience, and further attracts more attention and feedback from outsiders. This article starts from the semiotics perspective of Ferdinand de Saussure (Swiss linguist, 1857~1913) and Roland Barthes (French semiotician, 1915~1980) to explore the writer's artistic creation. By signifying texts, the texts or the whole article no longer hold the original meanings, but the new meanings given by the writer, becoming the implications of what the writer is trying to convey. Infused with the writer's psychological states: anxiety, hesitation, conflict, the creation successfully transports the sentiments of the writer, and reconnects with the time in diversified forms of presentation. Meanwhile, in this process of self-exploration, the writer perceives herself as a member of the modern society, and realizes that the best medium to communicate with the public is through creator's works, instead of resting on his/her own laurels. Back to the self-analysis process, whatever changes with respects to creation forms, ideals or ideologies are only superficial, what remains the same is the writer's original intention. Thanks to the legacy of the old Chinese calligraphy art, new essences are developed, transforming it into the new, feasible, innovative and accessible modern writing art.
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