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C H I N A D A I L Y artistspecial 7T U E S D A Y, N O V E M B E R 9 , 2 0 1 0 Editor’s note: To celebrate the fi rst Chinese Cultural Day held at the United Nations, the work of con- temporary calligrapher Yan Gongda will be displayed on Nov 12. Because Chinese calligraphy is included in the culture day for the fi rst time, Yan in turn is fi rst of the nation’s calligraphers to participate. Yan Gongda is among the most infl uential artists in Chinese callig- raphy today, renowned for his great freedom in brushwork, characters, ink and composition Th e creator of two long scrolls for the Olympic Games and the Shanghai World Expo, now in professional collections, says “calligraphy showcases the insight and personalities of its writers — the freedom of the Taoists, the sympathy of Bud- dhists or the universal love of Confucians”. He said success in calligraphy is impossible without moral integ- rity — which he has advocated throughout his career through a respect for nature, a sympathy for people and a loyalty to the nation. “He feels responsible for enhancing and developing Chi- nese traditional culture. Though calligraphy has an art for life,” said art critic Shi Yanping. Style and tools Yan, who is also vice-president of the Chinese Calligraphers Associa- tion and professor at two universi- ties, uses the calligrapher’s tools of a brush made of long goat’s hair and famed ink brand Yi De Ge. He bases his calligraphy on rub- bings, which he takes from stone and oracle bone inscriptions, and inscriptions on ancient bronzes and seals characteristic of the Zhou Dynasty (1045 BC–256 BC). Th e artifacts have simple strokes that influenced Yan’s own style, which is characterized by elegant, classic and compact lines. He then integrates his own feel- ings in his work — “following one’s own inclinations while observing the rules”, as teachers of ancient calligraphy advised. His work can be distinguished from the script of others by its fl owing movement and powerful sense of momentum. He uses the “wrapped stroke” method in which lines twist and turn full of transfor- mation and spirit. Yan’s work joins the extraor- dinary variety of calligraphic techniques, styles and composi- tions used down through time in China. The calligraphic form was introduced during the Qin (221- 206 BC) and Han (206BC-AD 220) dynasties. In the Eastern Jin Dynasty (317-420), Wang Xizhi, China’s greatest master, perfected the cursive style. During the Tang Dynasty (618- 907), Zhang Xu broke with Wang’s classical approach and developed a “wild” cursive style defined by emotion and spontaneity. Stories describe Zhang writing with his own hair, roaring drunk and shouting hysterically. Today the structure used by Yan is dynamic, yet upright and deco- rous, elegant yet full of changes. From left to right the strokes linger, yet are separate in form. “His ink technique is another highlight of Yan’s calligraphy,” said theoretician and critic Heng Zheng’an. “He uses several tech- niques to make the work vivid.” Th e last stroke of one character is the starting stroke of the next for Yan, resulting in a spirit that is unified through the charac- ters as a whole. The approach not only preserves the fluency and magnifi cence of big cursive script, but also creates pauses and turns of rhythm — simple, yet magnifi cent. Using a goat’s hair brush and raw rice paper, the technique produces the eff ect of a single shade made from fi ve layers of ink. In his essay Discussion on Ink Technique, Yan elaborates on the techniques of the masters Sebi, Xiemo, Zhangmo, Sumo and Feibai. Art of soul “Calligraphy is an art of the soul,” Yan said about China’s most renowned masterpieces. “With elegant and simple strokes, Preface to the Orchid Pavilion Collections by Wang Xizhi in the Eastern Jin Dynasty (317-420), is a demonstration of the writer’s pursuit of a peace- ful, simple and natural life,” he notes. “In Funeral Oration to My Deceased Nephew by Tang Dynas- ty (618-907) master Yan Zhenqin, overwhelming sorrow can be felt with his strokes that are said to penetrate the paper.” Brush with fame PORTRAIT OF THE ARTIST Born in Changshu, Jiangsu province in 1948, Yan was a student of famed calligraphers Sha Manweng and Song Wenzhi, whose instruction helped him master a number of styles including cursive hand and seal cut- ting. He also has a good command of painting. His works were displayed at the National Calligraphy and Seal Cutting Exhibition from its second to ninth sessions as well as at numerous other national exhibi- tions and international shows, where many times his work was awarded fi rst prize. He is one of the nation’s fi rst-class artists and experts who receive a special subsidy from the State Council. Yan’s works are collected by enthusiasts in Japan, South Korea, Singapore, Brazil, Canada, the United States, France and the Philippines, as well as afi ciona- dos in China’s Hong Kong, Macao and Taiwan regions. More than 100 mainland museums and galleries, including the National Art Museum of China and the Great Hall of the People, have displayed his creations. He is a member of the National Committee of the Chinese People’s Political Consultation Conference (CPPCC), vice-presi- dent of China Callig- raphers Association, vice-president of Jiangsu Federation of Literary and Art Circles and Jiangsu Calligraphers Asso- ciation. He is also a professor of Nanjing University and South- east University. As a member of the Standing Committee of the CPPCC, Yan proposed new regula- tions to encourage charity in the nation. Work of contemporary calligrapher Yan Gongda goes on display at the UN Yan Gongda