From the Way of Writing to the Weight of Writing

Exhibition

Exhibition Overview

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From the Way of Writing to the Weight of Writing
Ai-lian Liu, curator
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

Zhuang Zhe (born 1934), Autumnal Feeling
Zhuang Zhe (born 1934), Autumnal Feeling
Zhuang Zhe
Autumnal Feeling
1965
Jifei (1616–1671), An Accomplished Spirit
Jifei (1616–1671), An Accomplished Spirit
Jifei
An Accomplished Spirit
1600s, Edo period (1600–1868)
Totoki Baigai (1749–1804), Poem
Totoki Baigai (1749–1804), Poem
Totoki Baigai
Poem
late 1700s, Edo period (1600–1868)
Zhai Yunsheng (1776–1860), Couplet in Clerical Script
Zhai Yunsheng (1776–1860), Couplet in Clerical Script
Zhai Yunsheng
Couplet in Clerical Script
early-mid 1800s, Qing dynasty (1644–1911)
Chen Weishu (1847–1891); Zhang Mingqi (1875–1945); Zhou Weiping (late 1800s–early 1900s); Lin Chuigong (born 1895), 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), Three Fans, mounted in hanging scroll format
Chen Weishu , Zhang Mingqi , Zhou Weiping , Lin Chuigong
Three Fans, mounted in hanging scroll format
late 1800s–early 1900s
Zhou Weiping (late 1800s–early 1900s), Bird on Bamboo Branch
Zhou Weiping (late 1800s–early 1900s), Bird on Bamboo Branch
Zhou Weiping
Bird on Bamboo Branch
1922, Republic of China (1911–1949)
Chen Weishu (1847–1891), Bamboo, Chrysanthemum, and Bird
Chen Weishu (1847–1891), Bamboo, Chrysanthemum, and Bird
Chen Weishu
Bamboo, Chrysanthemum, and Bird
1891, Qing dynasty (1644–1911)
Zhang Mingqi (1875–1945), fan
Zhang Mingqi (1875–1945), fan
Zhang Mingqi
fan
1922, Republic of China (1911–1949)
Shang Yanliu (1874–1963), Colophon on Fan for Painting
Shang Yanliu (1874–1963), Colophon on Fan for Painting
Shang Yanliu
Colophon on Fan for Painting
1942, Republic of China (1911–1949)
Huang Junbi (1898–1991), Landscape Fan
Huang Junbi (1898–1991), Landscape Fan
Huang Junbi
Landscape Fan
1941
Chen Xian (active 1634–1654); Jifei (1616–1671), Guanyin and Attendant
Chen Xian (active 1634–1654); Jifei (1616–1671), Guanyin and Attendant
Jifei , Chen Xian
Guanyin and Attendant
mid-late 1600s, Edo period (1600–1868)
Yi Fujiu (1698–after 1747), Landscape after Huang Gongwang and Dong Qichang
Yi Fujiu (1698–after 1747), Landscape after Huang Gongwang and Dong Qichang
Yi Fujiu
Landscape after Huang Gongwang and Dong Qichang
early 1700s, Qing dynasty (1644–1911)
Yi Fujiu (1698–after 1747); Li Bai (701–762), untitled
Yi Fujiu (1698–after 1747); Li Bai (701–762), untitled
Yi Fujiu , Li Bai
untitled
early 1700s, Qing dynasty (1644–1911)
Fukushima Keidō (1933–2011), Fushiki
Fukushima Keidō (1933–2011), Fushiki
Fukushima Keidō
Fushiki
early 1900s
Mu’an Xingdao (Mokuan Shōtō) (1611–1684), Ze shin sei ro shi (From this Truth Emerges the Teacher of the Ages)
Mu’an Xingdao (Mokuan Shōtō) (1611–1684), Ze shin sei ro shi (From this Truth Emerges the Teacher of the Ages)
Mu’an Xingdao (Mokuan Shōtō)
Ze shin sei ro shi (From this Truth Emerges the Teacher of the Ages)
mid-late 1600s, Edo period (1600–1868)
Fukushima Keidō (1933–2011), Enso: What is this?
Fukushima Keidō (1933–2011), Enso: What is this?
Fukushima Keidō
Enso: What is this?
2001
Liang Yang (born 1960), In a Station of the Metro
Liang Yang (born 1960), In a Station of the Metro
Liang Yang
In a Station of the Metro
1997
Huang Chang-min (born 1954), Heart Sutra
Huang Chang-min (born 1954), Heart Sutra
Huang Chang-min
Heart Sutra
1995
Xu Bing (born 1955), Oxford Dictionary: Bird Definition
Xu Bing (born 1955), Oxford Dictionary: Bird Definition
Xu Bing
Oxford Dictionary: Bird Definition
1994–1996
Er jin die tang yin pu (Seal Book of the Two Golden Butterflies Studio)
Er jin die tang yin pu (Seal Book of the Two Golden Butterflies Studio)
Er jin die tang yin pu (Seal Book of the Two Golden Butterflies Studio)
1860s
Zhai Yunsheng (1776–1860), Couplet in Clerical Script
Zhai Yunsheng (1776–1860), Couplet in Clerical Script
Zhai Yunsheng
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.