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Abstract


DANCE OF THE BRUSH, BODY CALLIGRAPHY: AN APPROACH TO THE RELATIONSHIP BETWEEN CALLIGRAPHY AND DANCE IN CHINESE AND JAPANESE TRADITIONAL CULTURE

Dance has been an inspiration and metaphor for the Chinese brush art since ancient times, and the gesture, rhythm, fluidity of the movement and the stroke in the spatial composition of Chinese writing are inspiring of the most modern scenic proposals of extreme-oriental choreographers; being a determining factor the performatic character of both disciplines. The attitude of Chinese culture before the written sign, of which Japan is an heir, marks a profound difference between Western and Eastern culture. While in the West writing is considered fundamentally a means of transmitting meanings, in the eastern cultural tradition it is considered an art in itself. The origin of the visual value of Chinese writing lies in the very core of the holistic conception of its culture, in which the profound understanding of the relationship between man and the universe traverses all the arts in the unity of the same aesthetic thought. From this premise, through the exploration of its characteristics and the aesthetic principles that unite them, this study tries to delve into the close relationship that by its nature keeps dance with the art of calligraphy, being the reciprocal relationship between form and movement the vital core of both disciplines. The gestural imagination and the phenomenology of duration form the conceptual substrate of this comparative study between dance and calligraphy arts in the extreme-east culture. Bodies that write in space, brushes that dance in time.



Keywords
Dance, Calligraphy, Art, China, Japan, Culture.



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