Literati and Rocks Amidst Verdant Bloom: Asia Week New York Exhibition

As one of the most important figures promoting Chinese painting and calligraphy in New York during the 20th century, C.C. Wang (also known as Wang Jiqian, 1907-2003) explored various ways to promote the fundamental concept of "bimo" (brush and ink) and actively attempted to integrate Western contemporary art language with the use of Chinese traditional brush and Xuan paper into Chinese painting. His study of Impressionist works, curiosity about graffiti artist Basquiat (1960-1988), and further education at the Art Students League of New York were all undertaken with this goal and idea in mind. Indeed, throughout his proficient artistic career, he created many innovative artworks, such as using the irregular textures formed by crumpled paper to construct the basic framework of landscapes, or purely using lines to compose pseudo-Chinese character calligraphic works, as well as creating artworks with modern art language pieces with sophisticated curved lines drawn with a brush and color filled in. All these were C.C.'s efforts to make Chinese calligraphy and painting known to Western audiences, especially those in New York.

However, towards the end of his artistic career, what C.C. found most comforting might still be those works that could represent the traditional literati. For instance, "Scholar Rock," featured in the current exhibition, created in 2001, when he was already 95 years old. In this piece, he used randomly sized and shaded ink dots as a background. The main rock has a unique shape, rising from the ground and winding upwards, giving the impression that the scholar's rock is immersed in a misty drizzle. The folds and crevices of the rock are thick and resolute, and the specially arranged circular holes allow viewers to see through the rock to the background. Although centuries apart, this bears a remarkable resemblance to the "Wondrous Rocks" of Sun Kehong, also in the exhibition. Perhaps, this is the kind of spiritual heritage that the so-called literati represent, a connection through something as simple as a rock across time and space.

Bai Jiao (1907-1969) stands out as a seminal figure in modern Chinese history, renowned for his commitment to "Tie Xue" (the study of calligraphic models), with a particular reverence for the methodologies originated from "Two Wangs" (Wang Xizhi, 303-361, and Wang Xianzhi, 344-386). In the wake of national decline since the late Qing Dynasty, a wave of patriots and visionaries began to scrutinize the country's ailments from every conceivable angle. The "Epitaph School," led by Kang Youwei (1858-1927) and Liang Qichao (1873-1929), argued that the erosion of traditional Tang dynasty calligraphy by the bureaucratic styles of the Ming and Qing Dynasties had sapped them of their vitality, pushing them to the brink of obsolescence. In response, they sought to redefine the boundaries of tradition, turning to the raw and unbridled calligraphic styles of the earlier Northern Wei Dynasty. Their goal was to infuse paper-based calligraphy with the dynamic spirit of stele inscriptions and the freedom of unstructured character formation, aiming to invigorate national consciousness and overhaul outdated systems. With hindsight, such endeavors might elicit skepticism for their perceived naivety in believing that mere stylistic shifts in calligraphy could galvanize a collective spirit of resistance. Yet, these efforts were marked by a deep-seated earnestness, captivating and inspiring a significant cohort of enthusiasts committed to the study of stele inscriptions.

Bai Jiao, a literatus imbued with deep-seated passion, penned a series of incisive critiques such as "A Review of the History of the Xinhai Revolution.” He was acutely aware of the reasons behind the "Epitaph School's" rise to prominence. Yet, he also recognized the futility of single-handedly challenging the prevailing currents of his time. His response was to steadfastly uphold his artistic convictions while striving for continual refinement. As stele studies evolved, particularly after the restoration of China's national strength, they inadvertently fostered a tendency towards crudeness—a relentless pursuit of eccentric character forms and carving techniques at the expense of fundamental calligraphic beauty and the tactile experience of the brush. This shift became a point of contention for many.

Undeterred by the prevailing trends of his era, Bai Jiao's allegiance to the disciplined study and practice inspired by the "Two Wangs," along with his commitment to the core principles of brush usage and the aesthetic virtues of "Tie Xue," ultimately garnered him a devoted following. As society stabilized and the people's confidence in Chinese culture was renewed, Bai Jiao's legacy attracted a multitude of faithful adherents and scholars eager to study and emulate his work, underscoring his enduring influence on the landscape of Chinese calligraphy.

This piece ingeniously merges a snow scene captured in China's Jilin Province with a poem by Henry Wadsworth Longfellow, transforming the darkened sky into a canvas. The calligraphy, originally in black ink, is inverted to resemble both the aesthetics of rubbing and the purity of snow while leveraging the visual allure of Chinese characters to enrich the original verse.

Out of the 胸懷 of the air, 

Out of the 雲褶 of her 衣裳 shaken, 

Over the 林地 brown and bare, 

Over the 農田 foresaken, 

Silent, and soft, and slow 

Descends the 雪. 

Even as our 雲想 take 

Suddenly 形 in some 神 expression,

Even as the 憂思 doth make

In the 素容 confession, 

The 哀穹 reveals

The 悲 it feels.

This is the 詩 of the air,

Slowly in silent syllables recorded;

This is the 天機 of despair,

久 in its cloudy 胸懷 hoarded, 

Now 細語 and revealed

To 林 and field.