Artist frames Chinese tradition with natural style
BEIJING, May 21 -- Committed calligrapher uses rubbings of ancient stone and bone inscriptions to inspire his own techniques today
Yan Gongda is one of the most influential calligraphers of his generation, and persists in his art, even as many other artists turn to less traditional forms.
"He feels responsible for enhancing and developing Chinese traditional culture. By virtue of calligraphy, he engages in 'art for life'", said Shi Yanping, a calligraphy critic.
Yan, vice-president of the Chinese Calligraphers Association and professor at two universities, uses the calligrapher's tools of a brush made of long goat's hair and ink from Yi De Ge, a famous ink brand.
Yan Gongda bases his calligraphy on rubbings, which he takes from stone and oracle bone inscriptions, and inscriptions on ancient bronze objects and seals, characteristic of the Zhou Dynasty (c.11th century-256 BC).
These objects use simple styles of calligraphy and have influenced Yan's own style, which is characterized by elegant, classic and compact lines.
He integrates his own feelings into his work: "following one's own inclinations while observing the rules" just as ancient Chinese calligraphy technique advised.
His work can be distinguished from other script by its flowing movement and powerful sense of momentum.
He uses the "wrapped stroke" method in which lines twist and turn, full of transformations and spirit.
There is an extraordinary variety of calligraphic techniques, styles and compositions in China.
The calligraphic form was introduced during the Qin (221-206 BC) and Han (206 BC-AD 220) dynasties. In the Eastern Jin Dynasty (AD 317-420), Wang Xizhi, China's greatest master, perfected the cursive style.
During the Tang Dynasty (AD 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 decorous, elegant yet full of changes. From left to right the strokes linger, yet are separate in form.
"The technique of using ink is another highlight of Yan's calligraphy, he uses several techniques to make the work vivid," said calligraphy theoretician and critic Heng Zheng'an.
The last stroke of one character is the starting stroke of the next for Yan, resulting in a spirit that is unified through the characters as a whole. The approach not only preserves the fluency and magnificence of big cursive script, but also creates pauses and turns of rhythm - simple, yet magnificent.
Using a brush made from goat's hair and raw rice paper, the technique produces the effect of single shade made from five layers of ink.
In his essay "Discussion on the Ink Technique" Yan discusses research and elaborates on the techniques of masters such as Sebi, Xiemo, Zhangmo, Sumo and Feibai.
Information
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