Modern Chinese Caligraphy

Superficially, the wash ink works by Pu Lieping would seem to be a simple combination of concepts in Western abstract art with the materials of traditional Chinese ink painting, just leaving people a first impression of a piece of abstract art work that the gorgeous colors contrast with the line structures. Actually, it is a brave new genre of art integrating the traditional and modern calligraphy that is created in time and space by tracing back the thousand-year history of traditional Chinese calligraphy and re-implanting the modern Japanese calligraphy to China the birthplace of the art. Comparing with the traditional art, the Chinese character wash ink is no longer the straightforward expression of the structure of Chinese character on blank silk; it is nor the heap of impulsive and irrational colors and structural languages if compared with other forms of graphic abstract works. It is the forceful collision of logics brought by the integration of colors and lines, sufficiency and blankness, aesthetic passion and the rationality of Chinese character symbols and the most perfect expression. The artist is the one who challenges himself consistently in the creation, tries innovative methods and reaches the other side of ideal with a harmonious blending of rationality and disposition. For example, the Wind Message series makes a breakthrough of convention by seeking inspiration from nature for not being satisfied with the source of creation from learning and rational thinking. All the images of wind, cloud, and water in nature become smart and light brush strokes, attached to the corresponding Chinese character symbols, flowing and floating freely. Most of Mr. Gu Gan’s modern calligraphy works feature the reflection of a fairly profound but concise cultural spirit through highly abstract and accurate images. In other words, for the spiritual culture ideas that equal in value in its demonstration, Gu Gan’s modern calligraphy interprets and enriches Chinese thoughts on culture. Therefore, the appreciation of his modern calligraphy shall prioritize the paraphrase of cultures. The word “modern” in the concept of “modern calligraphy” shall be understood both chronologically and culturally. As the concept of time, “modern calligraphy” has the property of extending the form along time and varying with innovation; as a concept of culture, it is the restoration of ontological calligraphic language by virtue of deconstructing and reconstructing the visual form of calligraphy with cultural force. The sixteen or seventeen-year development of “modern calligraphy” till now sees many art elites taking it as the major expression technique, among whom Mr. Gu Gan is undoubtedly the leading figure in the prolonged modern art movement in China that started in 1985 and grew out of the soil of national culture. It may be safely said that Mr. Gu Gan’s modern calligraphic works represent a synaesthetic language that transcends cultural barriers. Although he always uses Chinese character to express emotions and meanings, he is able to visualize the world through a modern vision and respond to cultural pulsations that come continuously in this era with a modern mind since he always places his creation activities into an eco-system of modern culture. From his social behavior to his aesthetic sensibilities, Gu Gan is a true son of the orient, steeped in the cultural tradition of Cathay. Yet as an artist living in the global village, he naturally throws himself into the pursuit of modern art. Besides the aesthetic forms that appeal strongly, the synaesthesia created by the formal beauty of his works enables audience to accomplish a thorough change of ideas in the aesthetic delight—a sublimation of philosophical insight accomplished in the appreciation of art.