From the Way of Writing to the Weight of Writing

Exhibition

Exhibition Overview

Image not available
From the Way of Writing to the Weight of Writing
Ai-lian Liu, curator
June 30, 2007–November 18, 2007
Asia Gallery, Spencer Museum of Art, University of Kansas, Lawrence, Kansas

In East Asian languages, the word for “calligraphy” literally means “way of writing.” Calligraphy in Chinese culture is more than just beautiful writing; to the literary elites, calligraphy is not only a form of self-expression, it also embodies a person’s moral integrity. Even for the general populace, written words serve as emblems of learning and enlightenment, and therefore are objects of reverence. The calligraphic objects in the exhibition span many centuries and include works by contemporary artists. This display of calligraphy is intended to provide impetus for exploring the cultural weight of Chinese writing in East Asian societies. Beginning with calligraphic works on paper - the most direct form of writing as art, coming from the hands of the artists - the exhibition also aims to introduce several lesser known formats, including seal carving, book printing, Buddhist texts and ink rubbings. Furthermore, works by contemporary artists are included to attest to the vitality and relevance of calligraphy in the current art scene.

Exhibition images

Works of art

Autumnal Feeling, Zhuang Zhe (born 1934)
Zhuang Zhe (born 1934)
An Accomplished Spirit, Jifei (1616–1671)
Jifei (1616–1671)
An Accomplished Spirit, 1600s, Edo period (1600–1868)
Poem, Totoki Baigai (1749–1804)
Totoki Baigai (1749–1804)
Poem, late 1700s, Edo period (1600–1868)
Couplet in Clerical Script, Zhai Yunsheng (1776–1860)
Zhai Yunsheng (1776–1860)
Couplet in Clerical Script, early-mid 1800s, Qing dynasty (1644–1911)
Three Fans, mounted in hanging scroll format, Chen Weishu (1847–1891); Zhang Mingqi (1875–1945); Zhou Weiping (late 1800s–early 1900s); Lin Chuigong (born 1895)
Chen Weishu (1847–1891); Zhang Mingqi (1875–1945); Zhou Weiping (late 1800s–early 1900s); Lin Chuigong (born 1895)
Bird on Bamboo Branch, Zhou Weiping (late 1800s–early 1900s)
Zhou Weiping (late 1800s–early 1900s)
Bird on Bamboo Branch, 1922, Republic of China (1911–1949)
Bamboo, Chrysanthemum, and Bird, Chen Weishu (1847–1891)
Chen Weishu (1847–1891)
Bamboo, Chrysanthemum, and Bird, 1891, Qing dynasty (1644–1911)
fan, Zhang Mingqi (1875–1945)
Zhang Mingqi (1875–1945)
fan, 1922, Republic of China (1911–1949)
Colophon on Fan for Painting, Shang Yanliu (1874–1963)
Shang Yanliu (1874–1963)
Colophon on Fan for Painting, 1942, Republic of China (1911–1949)
Landscape Fan, Huang Junbi (1898–1991)
Huang Junbi (1898–1991)
Guanyin and Attendant, Chen Xian (active 1634–1654); Jifei (1616–1671)
Chen Xian (active 1634–1654); Jifei (1616–1671)
Guanyin and Attendant, mid-late 1600s, Edo period (1600–1868)
Landscape after Huang Gongwang and Dong Qichang, Yi Fujiu (1698–after 1747)
Yi Fujiu (1698–after 1747)
Landscape after Huang Gongwang and Dong Qichang, early 1700s, Qing dynasty (1644–1911)
untitled, Yi Fujiu (1698–after 1747); Li Bai (701–762)
Yi Fujiu (1698–after 1747); Li Bai (701–762)
untitled, early 1700s, Qing dynasty (1644–1911)
Fushiki, Fukushima Keidō (1933–2011)
Fukushima Keidō (1933–2011)
Fushiki, early 1900s
Ze shin sei ro shi (From this Truth Emerges the Teacher of the Ages), Mu’an Xingdao (Mokuan Shōtō) (1611–1684)
Mu’an Xingdao (Mokuan Shōtō) (1611–1684)
Enso: What is this?, Fukushima Keidō (1933–2011)
Fukushima Keidō (1933–2011)
In a Station of the Metro, Liang Yang (born 1960)
Liang Yang (born 1960)
Heart Sutra, Huang Chang-min (born 1954)
Huang Chang-min (born 1954)
Heart Sutra, 1995
Oxford Dictionary: Bird Definition, Xu Bing (born 1955)
Xu Bing (born 1955)
Er jin die tang yin pu (Seal Book of the Two Golden Butterflies Studio)
Couplet in Clerical Script, Zhai Yunsheng (1776–1860)
Zhai Yunsheng (1776–1860)
Couplet in Clerical Script, early-mid 1800s, Qing dynasty (1644–1911)

Events

September 6, 2007
Talk
Ai-lian Liu, guest curator
12:15–1:45PM
Gallery 318
October 3, 2007
Workshop
Asian Calligraphy
3:00–4:00PM
Gallery 317 Central Court

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 121 Sep-2007, Ai-Lian Liu, Asian Art Intern I’m David Cateforis with another Art Minute from the Spencer Museum of Art. In East Asian languages, the word for “calligraphy” literally means “way of writing.” Calligraphy in Chinese culture is more than just beautiful writing; to the literary elites, it is a form of self-expression and also embodies a person’s moral integrity. Even for the wider public, written words serve as emblems of learning and enlightenment, and thus objects of reverence. From the Way of Writing to the Weight of Writing, an exhibition currently on view in the Spencer’s Asia Gallery, explores the cultural weight of Chinese writing in East Asian societies including Korea and Japan, which adopted and modified the Chinese writing system. The objects in the exhibition span many centuries, and include contemporary works. Beginning with calligraphic works on paper - the most direct form of writing as art, created by the hand of the artist - the exhibition also features several lesser known formats, including seal carving, ink rubbing of stone inscriptions, book printing and Buddhist texts. Furthermore, the included works by contemporary artists attest to the vitality and relevance of calligraphy in the current art scene. With thanks to Ai-Lian Liu for her text, from the Spencer Museum of Art, I’m David Cateforis.