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Essays
Proliferation of great fruit of new offspring from old branches ––
Impressive Scenario of Chinese Calligraphy and
Painting in Modern and Contemporary Times
and having viewed all mountains
Kejing Chang
Chair Professor , Fudan University
Chinese calligraphy and painting had become a spent arrow t until the 18th century, even though people
back then t worked desperately to bring change with the weak and vulgar painting by the four Wangs, and
restriction by gallery style, it is a dead pool of water without a fresh source. On the other hand, the Eight
Eccentrics of Yangzhou (north of Tai Lake) breathed new life into calligraphy and painting in succession
of the ideal techniques from Bada Shan-ren, Shi-tao or Xu Wei, and Baiyang. Nevertheless, along with the
death of Luoping (the last painter) of the Eight Eccentrics of Yangzhou in 1799, it signifies that the group of
calligraphy and painting artists with unique character has again turned muted and depressed.
In the 80s of the 19th century, with the development of textology study style during Qianlong and Jiaqing
intellectuals have themed upon their work for model after late Ming for ancient source while that of the Eight
Eccentrics of Yangzhou in recent days. Along with the elegance of Epigraphy, and the hold on by philology
and version study. Painters are good at calligraphy and painting, while painting is done using measures of
calligraphy brush strokes, thus rendering calligraphy style sophisticate and diversified. Furthermore, with seal
cutting and exquisite calligraphy papers perfected as well as were exquisite decorations, Chinese calligraphy and
painting is freed from stubborn habits and restriction, and has begun to blossom everywhere!
At the end of the 19th century in Shanghai, western art has gradually moved to the east of Zhejiang and
Shanghai, including western painting ideas and techniques. To some extent, pigment has affected Chinese
painters, while the fun of Epigraphy and watercolor dyeing allow for free presentation on Chinese painting
paper. At the same time, China’s economy and are found mostly focused at Yangtze River Delta, so innovations
of calligraphy and paintings have exerted significant impact all over China. As such, though painters make
great efforts to paint with pen, water, ink, pigment, and paper, they have gradually distanced themselves from
traditional Chinese painting ideas and techniques and sought for their own topics and styles. Nevertheless, the
works finished at the end remain loyal the aesthetic interest of Chinese calligraphy and painting.
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The May Fourth Movement in 1919 played a revolutionary role in Chinese calligraphy and painting.
Cheng proposed the slogan of "Art Revolution", while Chen Duxiu, said, "The Paintings of Wang (Wang
Shigu) must be first toppled." Such thoughts have exerted a great shock to the world of calligraphy and
painting. After Cai Yuanpei proposed the educational thought of aesthetics and educational policies and
subsequent sentiment from those who, study western paintings in Japan during the late Qing Dynasty, some
innovative young painters, influenced by new ideas, rushed off to Europe to study western painting. After
returning home, they ran schools with western art education ideas and methods under national laws, but they
encountered serious mental conflicts with stubborn simulation to ancient people. Lin Feng-mian once said
that, “after Qing dynasty, almost all could not have times air or have distinct style, till to modern times, Chinese
painting almost had no chance to live.” However, Xu Beihong who lived in France suggested at the "Reform
Essay on Chinese Painting" that "keep up the good ancient painting technique, get rid of the stale and bring
forth the fresh, and incorporate good western painting styles." Lin Fengmian also said that, "amongst the
complex nature, one must seek character, quality, and comprehensive color presentations and must reform
painting raw materials, techniques, and methods, emphasizing that they must be done scientifically. Therefore,
from Lingnan Gao Jianfu , Gao Qifeng , Chen Shuren to uncontrollable new ideas and practices by Lin
Fengmian , Xu Beihong , Cai Yuanpei , and Fu Lei , and so as art ideas based on traditional knowledge by
Huang Binhong , Pan Tianshou , Chinese traditional painting has acquired new developments and trends, in
search of self-discovery, in experiment, and self-examination. Furthermore, tradition, literature, painting style,
material, ink color, color painting, style, topics, ideas, experiences, and innovation are always influencing trends
and developments of Chinese calligraphy and painting, even during modern and contemporary times. As such,
many great artists have exhibited great works spurred by such innovative and traditional ideas, thus succeeding
as an immortal role and influential force in the history of Chinese art.
On this occasion, since most great works of calligraphy and painting are collected privately so that it is
difficult to acquire original works for simulation for the community and schools. With luck, I had come to
encounter with Lin Guanghuei with pleasure, who joined Chang Chunghong and Chang Fangmin jointly
found the Crystal Museum in order to make public of many family art works. Thus, it offers a chance to
the mass to appreciate the splendor of the physical works in front of them, and the museum will be further
dedicated to uphold academic research, provide the community society and learners with opportunity for
physical visits and consultation. To further expand the impact of exhibition, works displayed upon themes
are compiled into album for promotion. For the very first exhibition at the establishment of the Crystal
Museum, the top-ten artists in China’s modern and contemporary times are represented, and their calligraphy
and painting elaborate the great development of painting and art that provide rare aesthetic examples for
appreciation by students and the public.
Written under the western window at Linglong Hill Chamber
Kejing Chang
18 April 2018.
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