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CHINESE CALLIGRAPHY AND PAINTING.

THE series of Chinese calligraphic works here presented aims to illuminate some of the issues in the previous article. Chinese calligraphy follows the convention of writing vertically from the top, and from right to left. The lettering is of the Li Style (regular script), Xing style (action script), and Cao Style (cursory script), with variations in Zhuan style (Seal Script) and Kai style (Standard script). Their juxtaposition accentuates the play of rhythmical movement and vigorous force against a contemplative depth and a balanced beauty.

Taking as their theme the quest for purification, the designs are arranged according to an aesthetic of emptiness that emptiness is shaped on paper by lines or strokes of varying widths and trajectories. Empty space can be full of life and energy; here it conveys an austerity, a lofty asceticism and a profound serenity, which invites readers (or viewers) into a space for taking breath and reflecting. According to Dharma Master Hongyi's last words, perfection is the reconciliation, the coming together, of both emptiness and fullness. The landscape painting, characterized by the sweeping stroke and the faintest coloration, features a barren scene of a lone fisherman in a cold river, a state of active tranquility that opens the way to enlightenment. These white spaces are not to be passed over in haste though they solicit our silence; the reading of Chinese brushwork is itself a discipline of rest, and yet of movement, through which we can learn to inhabit the white emptiness shaped by black ink--there to dwell in possibility.

Accomplished as an artist in Chinese Calligraphy and Painting (especially Lingnan School), and as a scholar in the diverse fields, Dr. Zhiyong Mo works as an associate professor at Jinan University. He is a recipient of many major prizes in calligraphy, artistic design, and academic research, and a contributor to art journals including Visual Communication and PAJ: A Journal of Performance and Art.

Dr. Zhiyong Mo

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Author:Mo, Zhiyong
Publication:Renascence: Essays on Values in Literature
Date:Sep 22, 2018
Words:320
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