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Calligraphy master learned well
By Zhao Dan |
November 22, 2009, Sunday
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Print Edition
Print Edition
SHANGHAI and its nearby provinces were the ancient birthplace of Chinese scholarly paintings and there has been a vibrancy about culture and art in the region since the Ming Dynasty (1368-1644).
One of the most important Shanghai native artists is Dong Qichang, who was born in Songjiang, Shanghai, in 1555.
Dong was a master in both ink-wash painting and calligraphy, his works in the calligraphy craft being especially popular in the late Ming and early Qing (1644-1911) dynasties.
It is believed that the Qing Dynasty Emperor Kangxi was very fond of his works, even hanging his calligraphy beside his bed to appreciate it every day.
The semi-cursive style piece of calligraphy by Dong displayed in Shanghai Museum is his copy of a work by another calligraphy master, Yan Zhenqin, from the Tang Dynasty (AD 618-907).
The calligraphy was originally a poem Yan wrote as a gift to a general.
Dong made many copies of Yan's works during his life. He learned calligraphy from them and it is evident that he was profoundly influenced by his style.
However, the museum exhibit is not only a copy but also a genuine masterpiece of Dong's work.
He wrote it at the age of 76 in 1630 after a lifelong devotion to calligraphy and copying Yan's work.
By this time, Dong had mastered the essential spirit of the craft and learned how to adapt the styles of Yan and other ancient calligraphy masters to his own technique.
The piece reflects many characteristics of Yan's work which are evident in the style of strokes and use of ink.
But the balance and the blanks left between the characters are the combination of many renowned masters' style enhanced by his own interpretation, thus resulting in a unique style of his own.
The rhythms of the characters he created show a skillfulness and expertise that even surpasses other works.
One of the most important Shanghai native artists is Dong Qichang, who was born in Songjiang, Shanghai, in 1555.
Dong was a master in both ink-wash painting and calligraphy, his works in the calligraphy craft being especially popular in the late Ming and early Qing (1644-1911) dynasties.
It is believed that the Qing Dynasty Emperor Kangxi was very fond of his works, even hanging his calligraphy beside his bed to appreciate it every day.
The semi-cursive style piece of calligraphy by Dong displayed in Shanghai Museum is his copy of a work by another calligraphy master, Yan Zhenqin, from the Tang Dynasty (AD 618-907).
The calligraphy was originally a poem Yan wrote as a gift to a general.
Dong made many copies of Yan's works during his life. He learned calligraphy from them and it is evident that he was profoundly influenced by his style.
However, the museum exhibit is not only a copy but also a genuine masterpiece of Dong's work.
He wrote it at the age of 76 in 1630 after a lifelong devotion to calligraphy and copying Yan's work.
By this time, Dong had mastered the essential spirit of the craft and learned how to adapt the styles of Yan and other ancient calligraphy masters to his own technique.
The piece reflects many characteristics of Yan's work which are evident in the style of strokes and use of ink.
But the balance and the blanks left between the characters are the combination of many renowned masters' style enhanced by his own interpretation, thus resulting in a unique style of his own.
The rhythms of the characters he created show a skillfulness and expertise that even surpasses other works.
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