The seal is a form of special artistic expression in Chinese painting, and it is an inheritance as a representation of Chinese ancient traditional arts in the modern days. Seal is the final step in completing a Chinese painting. This research aimed to interpret the seal carvings in the ancient Chinese paintings. This research employed a qualitative research design. An interview was conducted to gather qualitative data from four experts, two art teachers and two artists from China. The participants of the study were asked to evaluate and interpret the five paintings of Ni Zan and five paintings of Wang Meng. The findings showed that the seal carvings on ancient Chinese paintings were presented through the art elements such as size, shape, meaning, reading style, and color. The findings differences despite both artists came from the same dynasty. Both seals in Ni Zan and Wang Meng’s paintings were found to have the balance, color and appearance of their paintings. Furthermore, when sea.....

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This study proposes a contemporary aesthetic evaluation framework for Chinese calligraphy by combining traditional Chinese artistic principles with Western formalist theories. A comparative analysis approach is used, referencing the theoretical models of Heinrich Wolfflin and Erwin Panofsky to examine selected traditional Chinese calligraphic styles. The analysis reveals that Wolfflin_s stylistic contrast principles and Panofsky_s iconological method can be effectively applied to the structural and expressive elements of Chinese calligraphy. The findings further show that these Western theoretical frameworks can uncover the visual distinctiveness and conceptual foundations embedded in traditional Chinese calligraphic practices. By bridging cultural and theoretical boundaries, this study offers a fresh perspective for critically evaluating Chinese calligraphy within global art history. The resulting framework not only strengthens scholarly understanding of calligraphic aesthetics but al.....

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