SUMMARY


The main objective of this study is to investigate about the reasons which generated a close plastic link between the Painting and the Chinese Calligraphy in its traditional aspect.
From this objective we introduce the hypothesis that this link is a consequence of the highest Levels of Abstraction reached by both disciplines within a process that would affect the plastic qualities of the Stroke Line and the Emptiness in the drawing of the images.
These qualities would eventually shape the plastic agglutinant support of both arts.
For the demonstration of this hypothesis is carried out a detailed analysis of all the plastic modalities taken by the stroke line and the empty spaces within each discipline, giving emphasizing the expressive possibilities arising from those variants.
The influences exerted by the Tīchan Buddhism and the Taoism are analyzed in the elaboration of the calligraphic and pictorial images.
Itīs recognized at the same time the variety of techniques in the use of brush in Painting and other different styles of writing in Calligraphy, with their peculiar handling of the Stroke Line and the Emptiness.
This analysis allows us to establish the different Levels of Abstraction achieved in both disciplines.
We noted finally that the greatest Aesthetic Relation between Painting and Calligraphy is established on the basis of the highest Levels of Abstraction.
This relation is made manifest through the plastic qualities reached by the Stroke Line and the Emptiness; which finally determines the essential substrate of the images in both arts.
All that thanks to the concurrence of three essential factors: the basic plastic affinity, the compositional affinity and the supreme plastic affinity.