Sino-japan Chinese Characters' Design Studies And Caparing

At present the plane design circles in Japan pay close attention to theChinese characters design. One and another characters design ofwonderful styles has been created. How to combine the traditional stylewith the international style has always been a problem for which Chinesedesigners are seeking methods. Beginning from the design of Chinesecharacters, the author of this thesis makes a detailed study of the originand development of the Japanese and Chinese characters.The main body of the thesis consists of six chapters.Chapter One: The origin and development.This chapter lays stress on introducing the history of the forming anddevelopment of the Chinese characters in China. In Han Dynasty therehave been four main styles of calligraphy: Zhen,Cao,Li and Zhuan. At thesame time,Japan introduced the Chinese characters from China, endingthe history that there haven't been written characters in Japan. At the endof this chapter the author talks about the importance of comparativestudying of the Chinese characters design.Chapter Two:The development of Japanese and Chinese charactersdesign.As the development of Chinese characters and Japanese charactersare influenced by each other, the author expounds them all in this chapter.The development is divided into three periods: the embryonic period, type period and the period of light and electricity. At early stage, Japaneselearned from Chinese, but the characters design of Japanese overtook thatof Chinese in modern times.Chapter Three: The traditional aesthetic differences betweenJapanese and Chinese.It's one of the chapters that are expounded emphatically in this thesis.By analyzing the four series of contrary characters: flush and quiet, grandand subtlety, joy and sorrow, complex and succinctness ,the author findsout the origin of the differences between Japanese and Chinese.Chapter Four: Traditional origins—analyzing the works of moderncharacters design in Japan and China. The designers in Japan and Chinahave many differences on understanding Chinese characters because oftheir cultural and aesthetic differences, thus it makes the variety in visualexpression of Chinese characters design.Chapter Five: The different influences on characters design in Japanand China when going through tradition and modernity, democracy andinternationalism. Chinese cultures have much essence in tradition, but thebackward in process of modern industry restricted the development ofChinese characters design in China. During this period, Japan did notonly keep pace with the development of industry, but also led theindustrial revolution. Japan succeeded in forming characters designcombined traditional style with international style. Chapter Six: Conclusion and prospect: concluding the differences,prospecting the future.This thesis is written with the framework of Chinese charactersdesign in Japan and China, the development of Chinese characters designand the analyses of aesthetic differences between Japanese and Chinese.The author expounds the proposition that Chinese characters design iscombined with traditional style while Japanese characters design iscombined with international style. Comparing the aesthetic differencesbetween Japan and China, analyzing the shortage in Chinese charactersdesign, can help Chinese designers make the Chinese characters designcombined with modernity better at the same time showing Chinesetraditional style. When we learn from western culture, we can give moreconsideration to our native culture.