Challenging Principles: Exploring the Future of Chinese Calligraphy
The Hengshan Calligraphy Art Centre (HCAC) unveiled its inaugural Hengshan Calligraphy Biennial, featuring a diverse range of thought-provoking calligraphy works by both established and emerging calligraphers from Taiwan and around the world.
Sense of Wander: ★★★★☆
TAOYUAN, Taiwan — Chinese calligraphy is believed to have developed alongside Chinese characters, whose origin can be traced back to the late 2nd millennium BC with the oracle bone script. But it wasn't until the Eastern Han dynasty (25-220 AD) that calligraphy evolved from a functional form of writing to a refined art form valued for its aesthetic qualities.
In a world where typed letters have largely replaced handwritten calligraphy, many view this ancient art form as traditional and archaic, causing it to become a minority interest. Through the exhibition Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form (法與無法交織的年代─書法作為一種視覺形式), part of the 2023 Hengshan Calligraphy Biennale, curator Wu Chao-Ran poses a thought-provoking question: “What can calligraphy evolve into in a world where traditional writing tools are no longer essential, and its practitioners are dwindling?”
Challenging Beyond Principles
Calligraphy in ancient China was known as shu, meaning “writing.” However, the emphasis on the methods and principles — or fa — of calligraphy during the Tang dynasty (618-907 AD) led to the adoption of the term shufa, which is the modern Chinese term for “calligraphy.”
The “models” of master calligraphers established the principles and rules of Chinese calligraphy, and for centuries, the styles of Wang Xizhi (303-361 AD) and Wang Xianzhi (344-386 AD), also known as the "Wangs" or Model School, was the mainstream. However, in the 18th century, epigraphy gained popularity among literati, and the Stele School emerged as a competitor to the Model School. The two schools eventually merged during the 20th century, giving rise to a new form of classical calligraphy.
Upon entering the exhibition, one is mesmerised by the work of Pu Tzu (卜茲), whose artistic expression evolved from the fluid and ornate style of the Model School to the wild cursive script that emphasised the calligrapher’s bodily experience. Pu Tzu's calligraphy practice began with the study of Liu Gongquan (778-865 AD), one of the four calligraphy masters of regular script in China. He later emulated the brush techniques and wild script of various calligraphers from the Ming dynasty (1368-1644 AD).
One of Pu Tzu's signature works, Transcendental Inspiration (神乎神來相偶), showcases the epitome of his artistic expression. The characters on the paper show shifting shades of ink, as if bursting with energy that cannot be contained by the canvas, causing the ink to almost fly off the page.
Pu Tzu’s works evoke a sense of temporal transcendence, taking the viewers on a journey beyond time and space. When standing in front of his work, I feel like I have entered another dimension — beyond the flat surface of the canvas — into a lively masquerade where each character dances and chatters. Pu Tzu's calligraphy masterpieces are so expressive and dynamic that they almost appear as a contemporary dance performance or a symphony played by an orchestra.
The calligrapher’s wild cursive script may appear perplexing, or even illegible, to the untrained eye, but my prior studies on calligraphy appreciation allow me to delve deeper into his work. As I gaze upon his work, I am able to transform the two-dimensional lines into three-dimensional forms, and this process evokes a profound sense of awe within me. At times, I wonder if the fact that I am able to turn these characters written in wild cursive script into vivid imagery in my mind owes to the fact that Chinese writing, which was formed some 4,000 to 5,000 years ago, is based on pictograms.
Transcendental Inspiration. Pu Tzu (right); Peaceful Greenery from the Brick House. Pu Tzu (left)
The Moon Pierces Through the Sleepy Clouds on the Lonely Peak, Waves Break One After Another on the Vast Ocean. Lee Mao-Cheng
As I venture further into the exhibition, my eyes fall upon a grand canvas adorned with the couplet “The Moon Pierces Through the Sleepy Clouds on the Lonely Peak, Waves Break One After Another on the Vast Ocean” (孤峯頂上蕭月眠雲 大洋海中翻波走浪) written in cursive script. The spontaneity of its brushstrokes immediately caught my attention, and I soon discovered that it was created by none other than Lee Mao-Cheng (李茂成), a calligrapher whose style is influenced by the work of the Zen monk Ryokan Taigu (1758 — 1831 AD).
Lee describes his art as the embodiment of the ephemeral unfolding of one's life, where a dot and a line can sum up a person's entire existence. Similar to Pu Tzu, there is a sense of energy flowing between the lines of Lee’s work. The hues of the ink and the contrast between the written text and the blank canvas add to the overall effect. When examining Lee’s calligraphy, I can almost visualise the moon piercing through the clouds, while the waves beneath are crashing into one another on the vast ocean.
The “Four Treasures of the Study” — brush, ink, paper, and ink stones — were the traditional tools used for calligraphy. Through a work series titled "Endangered Species” (瀕絕四品), artist Lin Chun-Chen (林俊臣) conveys the possibility of calligraphy becoming a form of art that is on the verge of disappearing. On hanging scrolls, Lin depicts the Chinese characters for endangered animal species, such as xiong (Formosan Black Bear), jing (whale), and hu (leopard cat), seemingly drawing a parallel between “Four Treasures of the Study” and the endangered species.
The series of work by Lin Chun-Chen at the 2023 Hengshan Calligraphy Biennale. From left to right: Endangered Species: Leopard Cat, Endangered Species: Formosan Black Bear, and Endangered Species: Whale.
No discussion of the future of Chinese calligraphy would be complete without mentioning Liu Kuo-Sung (劉國松), who has earned the nickname “Father of Modern Chinese Calligraphy” for his avant-garde spirit in reinterpreting the traditions of this ancient art form. Liu's contribution to leading 20th-century calligraphy towards contemporary art is unmatched — he is best known for developing his own technique of cun, or texture, by peeling specially made paper.
For the 2023 Hengshan Calligraphy Biennale, Liu Kuo-Sung created Let the Spirit Freely Wander, Let the Mind be Pleased (適意不棄逍遙遊), featuring large brushstrokes representative of his style — with influence from the wild cursive brushwork of Shi Ke’s Meditation of Chan Master Dazu Huike — developed since the 1950s.
One of the highlights of the 2023 Hengshan Calligraphy Biennale is Let the Spirit Freely Wander, Let the Mind be Pleased, a new work created by revered artist Liu Kuo-Sung, often referred to as the Father of modern Chinese calligraphy.
Calligraphy Beyond China
It is important to acknowledge that although the influence of Chinese calligraphy extended beyond its borders and reached as far as Japan and Korea, each culture has developed the art of calligraphy in its own unique way. For instance, the Chinese emphasis on fa is absent in Japanese calligraphy, which is referred to as shodo, or “the way of writing.” In Korea, calligraphy is known as seoye, or “the art of writing.” These different terminologies reflect the varied cultural contexts in which calligraphy has evolved.
In the latter half of the 20th century, Japanese calligraphers began to introduce their work to the West, and the resulting acclaim encouraged them to identify themselves as artists. In addition to traditional tools, they began to experiment with various media to create calligraphic works.
One of the pieces on display is by Inoue Yuichi, a pioneer of post-War Japanese calligraphy. The work is titled Hugging and features the Chinese character “bao,” which means “to embrace” or “to hug.” At first glance, it appears to be a typical calligraphy work painted in ink. But upon closer inspection, it becomes clear that the character was written using a mixture of white glue and charcoal powder. This unconventional medium produces a stunning visual effect that is extremely powerful.
From the back, one sees through the space between the two hanging scrolls by Kawao Tomoko titled Correlation 2022 -cross-, which invites viewers to experience the brushstrokes from a unique perspective as they walk through the installation.
An exhibition room at the 2023 Hengshan Calligraphy Biennale features a diverse range of avant-garde calligraphy works by artists from around the world.
Another work, also by a Japanese artist, that caught my interest is Correlation 2022 -cross-. This piece consists of two exceptionally long hanging scrolls that visualise the uninterrupted process of a brush being wielded in the air before touching the paper. By displaying two hanging scrolls with a space between them, artist Kawao Tomoko invites viewers to walk through and experience the brushstrokes from a unique perspective.
I particularly admire Kato Taikei’s Cold Food Observance by Su Shi. Rather than simply transcribing the original phrases of the poem by Song dynasty poet Su Shi (1037-1101 AD), Kato transforms each character into a unique motif, creating a visual interpretation of the poem. This not only changes the way we understand the original text, but also allows us to appreciate the piece as a form of visual poetry recited through the use of space, lines of the brushstrokes. This approach brings to me an artistic movement that can be traced back to Su Shi, who blended painting and poetry, turning painting into “silent poetry”, and poetry into “sound painting”.
Calligraphy Beyond Words
As I ponder the future of Chinese calligraphy, the question arises: must calligraphy always be confined to the realm of words and written text? While visually modifying the characters may provide a potential path forward, I can't help but wonder if there are other unexplored paths waiting to be discovered.
Calligraphy Study 001 (書法習作 001) is a two-minute video that captures artist Wu Chi-Tsung's (吳季璁) attempt to transcribe the renowned “Letter of Loss and Confusion” by Wang Xizhi on a moving paper affixed to a treadmill. As he writes, the treadmill's speed accelerates, rendering the writing process futile, and all characters become illegible. This seems to allude to the challenges that many calligraphers are facing in today’s world, where the essence and significance of written words can often be overlooked.
On the other hand, this performance piece also serves as a testament to how calligraphers are pushing the boundaries of tradition in new and exciting ways. Despite the challenge posed by the moving paper, Wu's work exemplifies the creative and avant-garde spirit that is propelling the future of Chinese calligraphy.
The exhibition concludes with a mesmerising performance piece titled Ink Walking (墨行) by Shi Jin-Hua (石晉華). The centerpiece of this work is a massive handscroll covered in blots of ink that were created by the artist’s footsteps. The concept of the piece was brought to life as Shi continuously walked on the handscroll, holding a bowl filled with ink in his hand. Whenever the ink spilled, he refilled the bowl with water, and this process continued for several days until the ink was gradually replaced by water.
Ink Walking is inspired by a Buddhist tale in which a convict was ordered to carry a bowl of oil from one end of the city to the other, with the promise that he would be pardoned if he managed to carry out the journey without spilling a drop. While the original story serves as an allegory for concentration in Buddhist cultivation, Shi turns his performance into a symbolic purification process by replacing spilled ink with water.
In Taiwan, unconventional calligraphy work is often labeled as “experimental.” Through this exhibition, curator Wu Chao-Ran asks if we can acknowledge the artists' radical attempts to innovate calligraphy by substituting “experimental” with “avant-garde.” While the terminology may hold significance in academic circles, what truly matters to the public — in my view — is understanding the importance of these innovations in preserving and advancing this valued form of expression, which has been practiced for over 2,000 years.
Shi Jin-Hua's Ink Walking showcases a massive handscroll covered in blots of ink that were produced by the artist's footsteps.
Wu Chi-Tsung's Calligraphy Study 001 showcases the artist’s attempt to writing on a moving paper attached to a treadmill.
Era of Principle and No Principle Interwoven not only offers visitors a clear understanding of the modern evolution of Chinese calligraphy, but also how calligraphers from around the world reinterpret this ancient art form through various modes of expression. The exhibition features works by 42 calligraphers and artists from Taiwan and around the world, presenting calligraphy art through a multifaceted lens while exploring its future possibilities.
The 2023 Hengshan Calligraphy Biennial encourages us to rethink our assumptions about calligraphy. Through the reinterpretations of modern calligraphers, it becomes evident that breaking the bounds of traditional text and exploring the realm of visual forms can breathe new life into this classical art form. But as calligraphers experiment with new methods and approaches, we as viewers must also adapt our perspectives and expand our views on the principles of calligraphy.
After the visit, I have come to reconcile with the fact that calligraphy can also be appreciated as a form of visual art. When calligraphy becomes more than just words, and its form is open to interpretation between the written and the pictorial, its potential can be limitless.
With this in mind, perhaps we no longer need to fear the vanishing of the Four Treasures of Study, nor worry that this ancient art form is too removed from modern audiences. As we embrace the varied perspectives of the principle and the non-principle, we can be rest assured that calligraphy will continue to evolve and thrive in the years to come.
The exhibition, Era of Principle and No Principle Interwoven—Calligraphy as a Visual Form, is part of the 2023 Hengshan Calligraphy Biennial, inaugurated at the Hengshan Calligraphy Art Center (HCAC), the first public museum in Taiwan solely dedicated to calligraphy. This exhibition will run through through April 24, 2023.