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Chinese Calligraphy is a unique art form . More than an art of lines, Chinese calligraphy reflects the evolution of Chinese characters. Each of the styles – Zhuan (seal script), Li (clerical script), Kai (standard script), Xing (semi-cursive script) and Cao (cursive script) demonstrates different aspects of the art of calligraphy and at the same time stands as one of its own.
The Cao style is the ultimate embodiment of great aesthetic potential of the calligraphic art. The free Cao strokes of the infinite variation still follow the basic, cornerstone rules of the Chinese calligraphy. Thus, the forms created by lines though abstract can still be deciphered. From the free and wild style of Huai Su's works, or as “readable”, “simple” and “accurate” as the “Standard Caoshu” (cursive script standardization) created by Yu Youren. The wild, spirited Cao strokes dance on paper to form pictures similar to the Western abstract paintings. However, the reading of Western abstract painting is subjective.
On the other hand, although Chinese calligraphic artworks can be appreciated subjectively on their forms only, more importantly, the characters expressed by the beautiful Cao strokes are embedded with meanings of words. To be honest, Cao is my favorite style, because it renders great possibilities for aesthetic experiments, including those with ink. The brush and ink can create wonders on paper, especially when the brush is made of soft sheep hair.
Moreover, the various conditions of ink, with its different degrees of moistness and thickness, give life to the seemingly monotonous black color intrinsic to this instrument of the Chinese calligraphic creating of art.
The paper used in the Chinese calligraphy – Xuanzhi (rice paper)– is the best carrier of this specific form of art. It is characterized by high penetrability, which is important for the maximization of the expressiveness of brush touches and ink tints. As to the ink itself – strong, thick ink gives the characters vigor and power, while weak, thin ink – a touch of spirituality and loftiness. Combining and maneuvering these characteristics, calligraphy becomes a lively art form.
I am fond of the great aesthetic potential of the Cao and am endlessly impressed by its freedom and openness to dialogues – both with the artist and the audience. For those who do not read Chinese, they can enjoy a piece of calligraphic art work in the style of Cao as an abstract painting, as for those who do read Chinese – the satisfaction of perception is multiplied by their understanding of the verbal content.
Most of the works presented at my personal exhibition are written in the style of Cao, which I hope can transport the audience to the world I created and to be immersed in the immense beauty of the textual and graphic aspects of the art of Chinese calligraphy to a new level of aesthetic and spiritual experience.
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