告诉标题：汉字异体字管理与字型云服务（IVS Processing and Font Cloud Sevice）
Creativity: This is the only theme of art! Actually, art only has one theme, creativity! The Occident is creation from nothing. The thirsty of the attempt to be God induced artists. After Nietzsche, artists became new God. However, art can only play with nihility, and have no way of generating new events. The Occident has always desired to bring new events through creation(From Genesis of the Judaism to the revival miracle of the Christianity, to the New Mythology and the Theory of Talent of Deutsche Romantics). Creation, the relations between nihility and event, become the most fundamental discourse for western art to open the history. Actually, the differentiation and discussion of figural art and abstract art cant do without the basic background.
报 告 人：吴健商量员（中科院软件切磋所）
At first glance, there is no worry about creativity in Chinese culture. The natural naturalism of the Daoist skills faces instantaneous and unexpected change of birth and death, and the original intimacy between hieroglyphics and nature defends against void imagination. However, the imagination of vacant space in nature exists in the imaginary nil of Zhiyan in Zhuangzi and the emptiness view of the Buddhism, that is, the change of the nature is relied on to save vacant space for the nature and human being. However, with the pressure of the Occidental modernity, on the one hand, we lose the creative power to depend on the nature to open vacant space; on the other hand, in the situation of modernity at later times, we worry about more actually! We will not only learn the imagination about nil in the Occident---So it seems that abstraction is indispensable---Abstraction itself is an affirmation of nil in the face of the absence of God, but also change the mode to open vacancy in nature in a creative way---This is the tradition of graphic relevant to the nature. Therefore, the combination of abstraction and graph becomes the radical way out in modern painting.
Pure abstraction is no longer possible. It is necessary to introduce graphic in abstraction, and the combination of both forms imago-graph. The occidental abstraction remolds the objectivity of pictures from the abstraction of geometric composition and building forms of Mondrian, the American abstract expressionism opens the expression mode of emotions and postures of subject life, and the minimalism makes materials covey the features of ready-made products to the fullest extent. But the question is that one the one hand, abstract art opens the absolute difficulty of individual, but there is no way of generalization. The nil or darkness in the pictures cant be shared with generalization, and then how to form the unique generalization available for sharing? On the other hand, abstract painting fails to open a field domain access to public space and daily life, especially a natural field domain. The mode of exhibition hall is still the continuation of tradition except that it goes to another extreme with the challenge of devices and image art. Such two questions including the sharing availability of uniqueness and the opening of daily life space cant be solved by the occidental abstract art. Certainly, the occidental realism can be accepted by the public, but it loses absoluteness, while although pop art opens public daily features, it loses the only absoluteness of individual. For device image works, it is more about technology but not art. What is mostly seen by Wuming at the biennials in the ascendant is technology instead of art! It is digital technology and media technology, instead of art. Is art ended? Only technology left?
However, technology neither solves the problem of absolute uniqueness and sharing availability of individual, nor solves the sense of life in breath in daily life space. How to continue abstraction and expand art continuously?
主 持 人：王振宇教师
This is graphic.
The update of a culture lies in the awakening of creative vitality of life inside the culture. The vitality of Chinese cultural art exactly lies in graphic: From inscriptions on bones or tortoise shells and inscriptions on bronze in Shang and Zhou Dynasty to seal scripts in the pre-Qin period and till Libian, it is the graphic of inscriptions, the responding mode of Chinese people to confront unexpected disastrous events is made from the inscriptions of tough objects. Besides, from bones or tortoise shells, bronze to bamboo slip, intermediary instruments become less and less tough. It is also the realization of the empathy idea of get connected to the world by gasified graph, and the gasified graphic makes the sensible relations between unforeseen objects, instruments and limited life of people; then, it enters the inscription period of calligraphy. With the invention of paper, inscription becomes softer, it becomes easier to write Chinese characters and identify font. Running script and regular script appear, while cursive script makes calligraphy art become pure, the graphic of calligraphy establishes the inscription realm in which calligraphy grows old with people, and the whole paper is as vague as mist. From shape graph, line graph to meaning expression, until atmosphere graph and occasion graph, the spiritual orientation of writing and calligraphy all become perfect. In modern politics, the imperial examination system of civil officials is also internally related to graphic. The triple functions of civil administration, literature and literary art of literati are realized, and natural poetic flavor is also permeated into the graphic of calligraphy; with the politicization of regular script or the advent of imperial examination system, graphic must form the new line of escape. This is the graphic of water-ink landscape painting starting in the Yuan Dynasty. Depending on the absorptivity of permeation of unprocessed painting paper, the vividness of a mountain-and-water painting and a blank space are opened. The graphic of mountain-and-water painting shows the breath of individual life and the flow of natural atmosphere, the interior consistency of transcendent painting skills. Graph becomes the real intermediary passing through heaven, earth and people. Graphic in three phases is all the vacant field domain to activate game of life from nature. Only until the Qing Dynasty, the vacant field domain available for graph was concealed. Therefore, graphic needs to be reopened. During the May 4th Movement in the 20th century, due to the dissatisfaction about Chinese characters and the brag about Latin alphabetization of Chinese characters, graphic was seriously suppressed, which led to the crisis of the whole creativity of Chinese culture! This was especially shown in Lun Xun and Mao Zedong.
How to reactivate graphic? However, such new graph will no longer just depend on traditional mode. Instead, it must make dialogue with the occidental abstraction, for the experience about new nil has been opened in the occidental abstraction from the form extraction of objectivity, the evacuation of subject emotions to simple restoration of materials in the occidental abstraction. When the compartmentation opening mode of mil is learned, how to solve the problem brought by abstract painting itself that we have pointed out above? How to make creative Imago-Graph painting possible?
First of all, we must know the more fundamental principle of graphic. Graphic relevant to Chinese characters or hieroglyphics, that is, new imago-graph painting has several relevant creativity principles with art.
Principle of life: The mankind who walks upright opens the new function that the entire vital organs are open to the limitless nil in heaven and earth, especially the liberation of hands. To remain the liberation of hands becomes the prerequisite for real freedom of the mankind. Graphic can make people neither localized by the classification of labor, nor get back to the passive status of organism functions of animal. Instead, it keeps playing games freely, and has the cognitive ability. The Occident hasnt found a transfer mode between the organ function classification of animals and the organ distribution for painful labor of the mankind, while in Chinese culture, a transfer relation has been found through graphic: The writing of Chinese characters has the function of meaning identification. However, writing cant be a kind of labor. Instead, it can be adjusted on its own between understanding and writing, that is, the sense of internal community is found between the understanding of meaning identification and free game of calligraphy. This is What Kant tried seeking in Critique in Judgment. Such sense of community opens the general relations between yourself and others. This is what needs to be further enriched in the occidental abstraction, even though the occidental abstraction has relevance with design. This is the real liberation of hands in operation, the manner of the sense of freedom. The graphic of literati has always remained the sense of freedom for writing in heaven and earth. Writing is not just writing words. Instead, it is to open relevance of feeling between cognition and awareness. New graph should have relevance between casual freedom in hand and cognitive feeling. If graph is given up or transferred to a kind of function, it will lose personal feeling. The new imago-graph must have changing game between vivid identification and the sense of freedom. Thus, the identification function of images will be simplified for sure, and become more abstract and simple, so that there is happiness in free writing.
Principle of nature: Graphic is not only shown in free transfer between cognition and understanding and writing game, but also is related to the nature. Graphic not only needs to remove pain of labor or cognition of the mankind, but also needs to have new relevance with separated animalism or the nature. Hieroglyphics in Chinese characters has similarity with the nature. Just like what Kant said, it seems to form similar image. The expansion of such kind of similar image is the flow between similarity and dissimilarity in water-ink mountain-and-water painting. It is not only the writing release of hand. Besides, it is required to keep hands light. This is the momentum of mountain-and-water painting starting with fume and cloud as well as the supreme realm. Such kind of grace and motion need to change with the atmosphere of the nature. Thus, the relevance of writer in life is strengthened in the writing of the nature. Such kind of rich relations with the nature is exactly what the occidental abstraction basically lacks! It is also the imago-graph to which the abstract naturalism makes contribution. The new natural graph must remain such kind of light rhythm. Therefore, new image should be the form with rhythm. However, there is no possibility of being formalized. Instead, there is the element trace in the chaos stirring. Imago-graph must have elemental rhythm and the tension among chaos.
Principle of intermediary: Graphic of Chinese culture is still closely related to the tools for graph. From inscription at the very beginning to the calligraphy with writing brush until the advent of unprocessed painting paper, intermediary instruments get closer and closer to the breath of body. Therefore, graph is not only art, but also the mode of health preservation or accomplishment in life. Accomplishment calls for continuous softening of writing tools which is not required in the Occident. Even through the Occident upholds technical invention, it is opposite to the nature, but there is no way of being relevant to life due to the rationalization of intermediary. The initial feeling of life is exactly related to the senseless object instruments, but how to make senseless object also full of the sense of touch is exactly the charm of graph. The Occident never has instruments softened except that it is little shown in the mysticism of alchemy. On the contrary, the writing tools in Chinese culture such as writing brush, painting paper, water ink and etc. become increasingly softer and lighter no matter whether in the graphic of inscription, the graphic of calligraphy or the graphic of water-ink mountain-and-river painting, and endless blankness is left. Therefore, new graph should be made softened in the face of countless modern tough instruments, or the feeling between life and instruments should be reestablished. Therefore, the materials or demonstration modes of imago-graph such as sculptured statue must have the softness of graph.
汉字字形在历远古行中爆发了众多的变体，相对于广大应用的标准字，这一个变体被可以称作异体字。异体字在文字学研讨、古籍收拾出版中都有根本的含义。由于汉字字符集规范，比如，ISO 10646/Unicode/GB 13000只对标准字进行了编码，因而，如哪个地点理未有编码的异体字就成了特殊要求缓慢解决的主题材料。IVS使得解决异体字管理成为也许。再者，由于汉字数量大，招致字水库蓄水容量量大，很难全体装载在系统中。为此，我们规划实现了一种“随用随装、即装即用”字型云服务体制。在此个讲座中，大家将研究IVS和字型云服务的原理、完毕情势和使用。
We see the most complete demonstration of imago-graph in the works of the artist Liu Yonggang:
Chinese glyphs have produced a lot of variants in historical development, and these are known as Variant Form of Chinese, relative to the commonly used standard glyphs (orthographic glyph). The Variant Form of Chinese is of great significance for the study of Chinese Etymology and the arrangement and publication of ancient books. Since only standard glyphs of Chinese character have been encoded in the Standard of Chinese character set, such as ISO 10646/Unicode/GB 13000, how to deal with (display/print, input, and store) variants without encoding becomes a problem that needs to be solved. IVS (foreign word sequence) makes it possible to solve variant form of Chinese processing. Moreover, because of the large number of Chinese characters and large capacity of the font files (for mobile devices), it is hard to load them all in the system. In order to solve this problem, we design and implement a font cloud service mechanism. In this lecture, we will discuss the principles, implementation methods and applications of IVS and font cloud services.
Liu Yonggang coming from Inner Mongolia, placed himself at the boundary of Chinese characters and Mongolian language. After he went to Germany, he placed himself at the boundary of Chinese culture and western language once again. How to reestablish a kind of new view of inscriptions between internal differentiation and external difference? He learned modeling from sculpture and painting of western masters, and carried out repetitive extraction from the sense of strength in form. At the beginning of Chinese characters when Chinese characters were taken as that kind of original power to make life upright, he formed Standing Characters in the mid 1990s. It seemed like Chinese characters. Actually, it included Mongolian language or Phags-pa script or the font of ancient Zhuan calligraphy, and the sense of intimacy of western font. He made repetitive style research on this. This is not simple inspiration, but repetitive comparison in different forms of script forms. The uprightness of scripts is the uprightness of life. This is the initial ethos of life. Just like what Confucius said, Being able to establish oneself, one should help others to do so. The establishment is the mutual establishment of men of virtue to open public space where both exisit. Liu Yonggang integrated these elements ingeniously. Art is not design. It is the formalization of vitality, the imagination with the injection of emotions in life, which forms his representative works Love Embrace: It seems that two people hug each other and looks like love or embrace. It seems that two people hug each other and get upright mutually. Actually, artists have been integrated with the subjects he creates, which makes people think of the story of Pygmalion in ancient Greece. The integration of art subject is the complete representation of the feeling of love, the dedication to life. The uprightness of scripts is the uprightness of life. Liu Yonggang injected a kind of new feeling of love, that is, the desire in the Occident. This is the emotion not existing in the life of Chinese culture, the witness of intimate relations between life and life, the alliance of kind and loving heart, the integration of kind body and loving emotion, as well as the emblem of free combination of Chinese culture and western culture! The works completely opened the imagination of artist. A kind of new script, a kind of new intuition---The new feeling that life and script get upright---has set up. Therefore, Liu Yonggang brought new emotions to the modeling of Chinese characters from the principle of life. The love here is not only the love of people, the love of desire. Instead, from the graph of font, the embrace of life and the originality of uprightness, the sense of power of graph lines to the addition of new meaning, it gets upright with the support and embrace of the feeling of love. Once such scripts get upright in public space, no matter whether it is big or small, a readable life space with ethical culture can be opened. The upright sculpture is life itself. A public space in which conversation and dialogue can be made is opened accordingly.
betway必威官网手机版，Liu Yonggang added the atmosphere of life in graphic afterwards. Such atmosphere was no longer Yin and Yang. Instead, in the surging breath of Yin and Yang, just like the symbol relations in the Book of Changes, the abstract power comparison was added. This was the masterpiece Critical Series in 2009. The picture was restored to the simplest one-stroke book. The straightforward and powerful stroke carried all the feeling or energy. This released S line in the traditional Yin-Yang Diagram of the Supreme Ultimate, made it flow, and no longer got restricted by existing circles. Such stroke like diamond carried strength and power like traditional drawing sand with an awl and broke through blank picture. It was either broken itself, or broke existing circles---half rings of traditional Yin and Yang. From the transformation of atmosphere graph, it was no longer the traditional image of harmony. Instead, through the power of graph, with the applying and stirring rotation, the broken stroke was left. Those broken trails were connected ingeniously, and that eternal One seemed to penetrate through the circle and made it shake. In the strike of one-stroke book, it was broken into pieces. The two halves of the Diagram of the Supreme Ultimate were decomposed and became the biomass like cell egg. After being stricken, the picture became the more vivid imago-graph. This was the life pregnant in the new times, the birth of new natural element. The eternal One broke the cell element in the picture with the stirring strength and made it come round. This was the reborn after heaven and earth collapsed. The painting plane was reopened from here. The picture was a blank field domain subject to graph. A large area of vacancy in the picture also opened the traditional and natural remaining space.
Liu Yonggangs graph works are not just painting. Whats more, it opens a field domain of life. After the surface of the painting is stuck with a layer of thin film, it changes with the change of light, climate and breath. The surface of the picture forms natural cracks, which is the new discovery of the sense of breath of materials. These natural generation and the trails continuously changing in time are the discovery of naturalism of graph materials, the imago-graph which is not just graph!
As the example of imago-graph painting, Liu Yonggangs works will enlighten other artists to rethink the possible relations between the traditional graphic and western abstract painting for sure, so that the whole traditional graphic potential can be reopened and the internal strength of western modernity can be transferred. Art is not just art. Instead, it is the transformation of the whole cultural lifeline. Our culture always goes this way in which it is desired to be written in the face of others and open new cultural prospects through writing others!
吴健探究员现任中科院软件所商量员，以往在Hong Kong中大从事探究专业。研商的小圈子为中文和少数民族文字新闻管理技巧。吴健探究员如今担负全国音信技能标准化委员会行家委员，中国汉语音讯学会管事人，中华夏儿女民共和国Computer学会粤语新闻技巧专门的职业委员会委员，国标化组织ISO/IEC JTC1/SC2/WG2/ISportageG多多人职业组成员。
Xia Kejun: Vice professor of Peoples University of China, PH.D.
betway必威官网手机版：关于举办中国科学院软件研究所吴健研究员学术报告会的通知，China_艺术家资讯_雅昌新闻。Wu Jian works for Software Institute, Chinese Academy of Sciences, as a professor. He served in The Chinese University of Hong Kong as a visiting scholar. His research interests include Chinese and minority language information processing. Currently, he is an Expert Committeeman of China National Information Technology Standardization Technical Committee. He is also a member of a council of the Chinese Information Processing Society of China, a member of Professional Committee for Chinese character information processing system, China Computer Federation and a member of ISO/IEC JTC1/SC2/WG2/Ideographic Rapporteur Group.
Teaching at Literature College of Peoples University of China