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A gift for all arts aficionados, Dragon Strokes: Calligraphy by Scholars 2012 is part and parcel of series of seminars on Ming and Qing calligraphy and paintings annually organised by Macao Museum of Art. Of the participating scholars, a considerable number are not only authorities on authentication and connoisseurship but are also consummate artists in calligraphy and painting. For this reason, a year ago I proposed to Mr. Fu Shen to invite and gather these scholars to host a calligraphy exhibition to share their arts with us. He readily agreed to my proposal and thus the Museum invited eight scholars to participate in this exhibition, namely, Fu Shen, Yang Xin, Xue Yongnian, Xiao Ping, Cao Baolin, Huang Dun, Liu Yiwen and Bai Qianshen. According to Chinese zodiac, the year 2012 marks the Year of the Dragon - hence this exhibition has been titled Dragon Strokes.
This is a very special calligraphy exhibition as all the authors demonstrate an inherent disposition to ancient calligraphy and painting. From their works, one may not only glimpse their unique understanding of the art of calligraphy and inheritance of tradition but their in-depth exploration of the form of art. A meticulous scholar, Mr. Fu Shen remains serious and conscientious in the authentication of ancient calligraphic works and paintings, adhering to the sincere and solid style and the concept 'Let evidence speak for itself' pursued by Puxue, an empirical research school active in the Qianlong and Jiaqing periods. As a calligrapher, however, Fu’s work is highly experimental and features various types of scripts in a single piece. The contents of his works express his concern for the living environment of mankind from a contemporary perspective. His theme focuses on the nuclear radiation leaks triggered by earthquakes and tsunamis, showing his sympathy, care and love for the victims.
Regarding the contents of these works, we had a strong desire to see more original works, and this has been met with active responses by the scholars, with the primary focus on their own poetry, essays and postscripts, revealing their academic depths in classical literature. The poetry inscribed by former deputy director of the Palace Museum Mr. Yang Xin is particularly pungent and lively; for instance, in his poetry dedicated to the Portrait of Zhong Kui by Ni Tian, he wrote: 'Patrolling around mountains and forests and through the city, for what reason do his eyes glare and whiskers bristle? Assembling the appearance of Zhong Kui and in 12-Chinese-foot length, for there are too many evil spirits on Earth'. The closing line is vigorous and forcible. The final inscription reads: 'The portrait of Zhong Kui on a 12-Chinese-foot Xuan paper by Ni Mogeng presents the powerful and lofty bearing of Zhong; in my opinion, it should be hung on the National Gate'. The last line is deeply impressive! Its meaning is twofold: it uses irony to slice into reality and upholds dignity and righteousness.
Prof. Xue Yongnian has developed a solid foundation in Chinese studies and his research is noted for its depth and breadth. Because of his extensive areas of research interest, he is reputed to be an encyclopaedic scholar. His calligraphy also reflects his profound learning and cultivation in different areas.
Of the eight scholars, some are painters who were prompted to add a delicate touch of painting by a sudden impulse. For instance, Mr. Yang Xin painted Grass in a Pot, elegant and vivid, to complement the context of his calligraphy; Mr. Xiao Ping, in addition to his proficient calligraphy, has conspicuous talent in painting and thus his emulation of Ni Zan’s landscape has been chosen for display in this exhibition.
Each of these scholars has their distinctive quality and talent, and thus their works are a spontaneous reflection of their character as well as their academic background. The works of Bai Qianshen exude a mellow and tranquil ambiance. Cao Baolin bears erudite demeanour and his style is often associated with the unconstrained, free style of Mi Fu, and the implicit and conservative style of Su Shi. The strokes of Liu Yiwen are natural, graceful and lively. Huang Dun - who has a keen desire to rejuvenate the study of rubbings - reminds me of the talented scholars of Jiangnan in the Ming dynasty.
This exhibition is definitely an elegant gathering of scholars. It seeks to boost the academic atmosphere and promote arts appreciation and creation. I am convinced that exhibition-goers will benefit from the brushwork of these scholars.
Chan Hou Seng
Director
Macao
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