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Calligraphy-ism: Exhibition and
Symposium
Henry Ho
Calligraphy-ism, the title of this
exhibition and symposium may seem too serious and academically
inclined to some, in order to break away from this ethos,
please allow me to begin my thoughts with a lighthearted analogy.
I think of the overseas development of Chinese calligraphy
as a friendly soccer game of cultural exchange, and this is
how this game would look like. A normal soccer game would
start with the players on both sides taking their positions.
However, something unusual was happening with this game. On
the Chinese team, the players refused to cooperate with each
other . . . the forwards second-guessed the importance of
the defenses; and the goalkeeper thought that his position
was the most important in the formation . . . the whole situation
created a rather "lively" scene. The behaviour of the Chinese
team became so confusing that the opposing team was not even
sure whether the game had actually started. From the viewpoint
of an outsider, it might appear that the situation of the
Chinese team was the result of the absence of a coach, a team
captain or even the lack of respect for the referee. However,
the truth was that, each of the players on the team thought
that they were capable of assuming the roles of players, coaches,
team captains and referees all at the same time. I am using
this analogy to point out one important factor about the development
of Chinese calligraphy. I think it is crucial to deploy an
objective and professional approach to this traditional practice
in order to make it relevant to contemporary art practices.
The development of Chinese calligraphy could only thrive in
a healthy and cooperative habitat created by all "players."
As far as the analogy goes, the intention
of this exhibition is not to cast judgment on the works of
the artist-calligraphers, as the coaches or referees would
have with the players at a game of soccer. Rather, the intention
of the event is to create an opportunity for the calligrapher-artists
(the players) working in different styles, forms and concepts
to showcase their unique "skills." It is an occasion for the
artists to discuss their works and engage in dialogues to
explore the question "what is Chinese calligraphy?"
"What is Chinese calligraphy?" It is
not our intention to give a definite answer to this question.
The symposium is an opportunity for the artists, scholars
and audience to express their opinions on Chinese calligraphy
from their own perspectives. The English title for this exhibition
"Calligraphy-ism" is adapted from a modern calligraphy movement
initiated by artist-calligrapher Luo Qi in the 1990s in China.
Luo proposed to broaden the possibilities of Chinese calligraphy
by focusing on the concepts and essence of the art form rather
than following the many formal rules set by traditional calligraphers.
On the other hand, the Chinese title of the exhibition is
"shu-fa-shu." (Translator's note: shu is translated as "writing";
and fa is translated as "method or principle." In Chinese,
the literal meaning of calligraphy is "the rule and principle
of writing.") The three characters shu-fa-shu (writing-principle-writing)
combined to form a phrase that would yield the same meaning
when reading from the right to left, and also from the left
to right. This title is a linguistic and visual representation
of our intention to explore the question of "Chinese calligraphy"
from different angles and directions.
In the past few thousand years, the
Chinese people have developed a visual language and semiotic
system of calligraphy that is simple in form and yet deep
in meaning. Reflecting on this long tradition, a few questions
came to mind. Should we continue to explore and develop this
art form in the past tense or present tense? Would "Chinese
Calligraphy" be able to develop into a cross-cultural art
form that would overcome its geographical and cultural limitations?
These are some of the questions that have sparked ongoing
discussions by Chinese calligraphy enthusiasts both within
and outside of Chinese societies.
In order for Chinese calligraphy to
reach audience of different cultural backgrounds, it requires
interpretations of its concepts and techniques from multiple
angles. One of the angles that we explore in this exhibition
is from the perspective of the relationship between calligraphy
and the concepts of heart-mind (xin) and body (shen).
It is our aim to put together an exhibition
to showcase traditional, modern and contemporary works that
explore the essences of calligraphy, as well as to engage
the viewers in dialogues. Our ultimate goal is to host a "friendly
soccer game" between various cultural practices.
Translated from the Chinese by Doris
Sung
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