WHEN CHINESE CALLIGRAPHY SPEAKS: EXPLORING EMOTIONAL INTERPRETATION IN A SPANISH UNIVERSITY COMMUNITY
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| Natura: | Recurso digital |
| Lingua: | inglese |
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2026
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| _version_ | 1866901679274721280 |
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| author | Lin, Jia |
| author_facet | Lin, Jia |
| contents | <p><strong>ABSTRACT</strong></p> <p><strong>Background:</strong> In China, calligraphy has long been regarded not merely as a writing technique but as a manifestation of the calligrapher’s personality and emotional states. The expression “calligraphy reflects the person”, documented since the Han dynasty, has consolidated the idea that brushstrokes and writing styles project the calligrapher’s inner world. However, this concept has received little scholarly attention in the Western context, where Chinese calligraphy is primarily valued as an artistic or pedagogical resource. <strong>Objectives: </strong>The aim of this study is to examine whether the emotional state of the calligrapher can be perceived by Western observers with no prior knowledge of the language or calligraphic practice. <strong>Methodology</strong>: To this end, an empirical investigation was conducted with 31 Spanish university students enrolled in the Degree in East Asian Studies at the University of Salamanca. None of the participants had training in Chinese calligraphy, and most were unfamiliar with the traditional characters used in the selected work. The material analyzed was Draft of a Requiem to My Nephew by Yan Zhenqing (709-785), an emblematic piece of the Tang dynasty and a notable example of semi-cursive script. Participants observed the work and completed a questionnaire consisting of closed-ended questions on the sensations perceived and open-ended questions on their interpretation of the calligrapher’s emotional state. <strong>Results:</strong> Results show that 96.8% of participants identified predominantly negative emotions, mainly anger (67.7%) and anguish (19.4%). Although sadness was also part of the author’s emotional background, only 3.2% recognized it. <strong>Conclusion:</strong> In conclusion, the findings reinforce the idea that calligraphy is a visual art capable of transmitting emotions perceptibly, even to non-Chinese-speaking observers. This study contributes to the intercultural understanding of calligraphic art and opens new avenues for exploring the relationship between art, emotion, and nonverbal communication.</p> |
| format | Recurso digital |
| id | zenodo_https___doi_org_10_5281_zenodo_17467098 |
| institution | Zenodo |
| language | eng |
| publishDate | 2026 |
| publisher | Zenodo |
| record_format | zenodo |
| spellingShingle | WHEN CHINESE CALLIGRAPHY SPEAKS: EXPLORING EMOTIONAL INTERPRETATION IN A SPANISH UNIVERSITY COMMUNITY Lin, Jia Chinese Calligraphy Emotional State Empirical Research Spanish University Students Visual Art <p><strong>ABSTRACT</strong></p> <p><strong>Background:</strong> In China, calligraphy has long been regarded not merely as a writing technique but as a manifestation of the calligrapher’s personality and emotional states. The expression “calligraphy reflects the person”, documented since the Han dynasty, has consolidated the idea that brushstrokes and writing styles project the calligrapher’s inner world. However, this concept has received little scholarly attention in the Western context, where Chinese calligraphy is primarily valued as an artistic or pedagogical resource. <strong>Objectives: </strong>The aim of this study is to examine whether the emotional state of the calligrapher can be perceived by Western observers with no prior knowledge of the language or calligraphic practice. <strong>Methodology</strong>: To this end, an empirical investigation was conducted with 31 Spanish university students enrolled in the Degree in East Asian Studies at the University of Salamanca. None of the participants had training in Chinese calligraphy, and most were unfamiliar with the traditional characters used in the selected work. The material analyzed was Draft of a Requiem to My Nephew by Yan Zhenqing (709-785), an emblematic piece of the Tang dynasty and a notable example of semi-cursive script. Participants observed the work and completed a questionnaire consisting of closed-ended questions on the sensations perceived and open-ended questions on their interpretation of the calligrapher’s emotional state. <strong>Results:</strong> Results show that 96.8% of participants identified predominantly negative emotions, mainly anger (67.7%) and anguish (19.4%). Although sadness was also part of the author’s emotional background, only 3.2% recognized it. <strong>Conclusion:</strong> In conclusion, the findings reinforce the idea that calligraphy is a visual art capable of transmitting emotions perceptibly, even to non-Chinese-speaking observers. This study contributes to the intercultural understanding of calligraphic art and opens new avenues for exploring the relationship between art, emotion, and nonverbal communication.</p> |
| title | WHEN CHINESE CALLIGRAPHY SPEAKS: EXPLORING EMOTIONAL INTERPRETATION IN A SPANISH UNIVERSITY COMMUNITY |
| topic | Chinese Calligraphy Emotional State Empirical Research Spanish University Students Visual Art |
| url | https://doi.org/10.5281/zenodo.17467098 |