Popular Chinese Fonts: The Role of Minimalism, the Influence of Zen and the Bauhaus School

ABSTRACT

The purpose of this article is to reveal the distinctive features of calligraphic art developing under the influence of Chinese minimalism and Ze art, using the example of the artworks of four Chinese artists (Zhang Huan, Li Zuo, Gu Yingzhi, Zhang Baohuang) and one Japanese artist (Yamada Reirin). The study found that the art of calligraphy follows several basic rules, including a strict stroke order and sequence, with each character fitting into a square shape. The influence of Zen Buddhism manifests in the creation of distinctive images (cyclical circle, trance state of monks) in combination with traditional writing styles. The geometricity of Chinese characters is also widely used in electronic fonts and graphic symbols that encode characters. The data obtained can supplement the research dedicated to the investigation of the key features of Chinese Zen calligraphy and their influence on the modern fonts containing the elements of minimalism and conceptual art.

Disclosure Statement

No potential conflict of interest was reported by the author(s).

Data Availability Statement

Data will be made available on request.

Supplementary material

Supplemental data for this article can be accessed online at https://doi.org/10.1080/14639947.2024.2342422.

Additional information

Funding

This study was funded by the Zhejiang province philosophical society planning problem Zhejiang Wu Opera stage art review [22NDJC183YB].

Notes on contributors

Weirong Wang

Weirong Wang is an associate professor at the Hangzhou College of Commerce, Zhejiang Gongshang University, Hangzhou, China, and a master’s and PhD student at the Department of Art, Kharkiv National Academy of Art and Design, Kharkiv, Ukraine. Wang’s research interests are Chinese culture, art and Chinese calligraphy.