Calligraphic Language and Aesthetics in Contemporary Chinese Art

Calligraphy entered contemporary Chinese art at the time modernist art reappeared in China in the 1980s, and gradually became an important component in contemporary art. Because the Chinese written language is partially ideographic and partially pictographic, calligraphy-related works can be categorized into a few groups. The first group can be traced back to traditional calligraphy, but the artists try to employ modern concepts and methodologies. The second group is to add calligraphic elements to other forms of visual art. These two groups basically explore the use and representation of calligraphic languages and elements. The third group introduces the Chinese writing system, or the structure of the character, to conceptual art, including new media art. In works of contemporary Chinese art, we see that expression of the calligraphic language and application of characters present many serious obstacles. On the other hand, calligraphy and Chinese characters as sources still have great potential. These artists, regardless of what concepts, methods, or formats they use, self-consciously link their art to the construction of cultural identity and social circumstances of contemporary society. This artistic phenomenon has already become an important part of contemporary visual culture.

Dr. Kuiyi Shen is Professor of Art History, Theory & Criticism at University of California, San Diego. His research focuses on modern and contemporary Asian art. Among his publications are A Century in Crisis: Modernity and Tradition in the Art of Twentieth Century China (1998); Chinese Posters (2009); Arts of Modern China (2012, winner of the 2103 ICAS Book Prize in Humanities); Light Before Dawn: Unofficial Chinese Art 1974-1985 (2013); Liangyou: Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926-1949 (2013); and Luis Chan (2019). He is a recipient of fellowships and awards from National Endowment of Art, Social Science Research Council, Japan Society for the Promotion of Science, Ishibashi Foundation, Stanford University, Leiden University, University of California, University of Heidelberg, and others. He is also the managing editor of Brill’s book series Modern Asian Art and Visual Culture.