Grand Long Holding Canada Ltd. presents
THE SOUL OF INK – CALLIGRAPHY PAINTING BY QIAOFU
Opening July 28th 2019 4:00pm
Exhibition July 28 – August 2, 2019
Organized by Grand Long Holding Canada Ltd., The Soul of Ink Exhibition will showcase over eighty scrolls of Mr. Qiaofu’s traditional Chinese calligraphy and Chinese ink paintings.
Qiaofu, literally translated as woodcutter, signs his calligraphy works with the pen name instead of his real name. He proposes that “calligraphy alone suffices to recognize a person” quoting the preface written by Liu Jiang in the Calligraphy Collection of Qiaofu. Born into a literati family, Qiaofu developed an indissoluble bond with calligraphy since childhood. He was profoundly influenced by his family members, such as his grandfather Wu Gan, who was a famous calligrapher in the late Qing Dynasty (1644-1912). Qiaofu’s practice in calligraphy started from inscriptions on steles and bamboo tablets. The classics of Confucianism, Buddhism and Taoism are also embodied in his work.
Qiaofu advocates and respects the great philosophy of “the principle of Tao follows nature” and “Tao is not far from anybody.” In his own words, calligraphy should avoid being too “intentional, willful or crafty”, and “good Chinese characters in calligraphy are those free from any affectation and follow nature, while good art forms are those free from ornaments and good at describing things and touching people’s souls”. With these concepts, he tries to express these ideas through his work and wins extensive recognition and praise from renowned calligraphers at home and abroad. In the past decade, his calligraphy received recognition in China, Japan, USA, and France.
The exhibition opens from July 28 until August 2 at Lipont Gallery
The Soul of Ink — Calligraphy by Qiaofu
Chinese calligraphy has developed throughout a long history over thousands of years and has experienced various changes in terms of writing tools and aesthetic trends, displaying rich and diversified styles and features. Calligraphers during past dynasties and periods either advocated pristine plainness of works on metal, stones, steles and bamboo tablets, or refined elegance of works on silk, cotton, paper and rubbings. In the calligraphy circle today, inscriptions on steles and rubbings, as two significant veins of Chinese calligraphy, can largely reflect spiritual temperament, life experience and aesthetic insight of different authors. The calligraphy by Mr. Qiaofu based on ancient works on steles and bamboo tablets, precisely embody his unswerving fortitude and unaffected heart in pursuit of pure nature.
Qiaofu, literally translated as woodcutter, signs his calligraphy works with a pen name instead of his real name. He proposes that “calligraphy alone suffices to recognize a person” (recorded in the preface written by Liu Jiang for the Calligraphy Collection of Qiaofu). Born into a literati family, Qiaofu developed an indissoluble bond with calligraphy since childhood. He was profoundly influenced by his family members, such as his grandfather Wu Gan, who was a famous calligrapher in the late Qing Dynasty (1644-1912). Despite the vicissitudes in his life, Qiaofu never stopped practicing calligraphy and has gradually established a unique style matching his own personality. His practices in calligraphy started from inscriptions on steles and bamboo tablets. These inscriptions, dating back from the reign of Chu Kingdom and Han Dynasty (206 BCE-220 CE), have transformed from large seal script in the Shang Dynasty (ca. 1600-1050 BCE) and Zhou Dynasty (ca. 1046-256 BCE) to the seal script of the Qin Dynasty (221-206 BCE) and clerical script of the Han Dynasty (206 BCE-220 CE), with smooth, spectacular and romantic strokes. As the practical writing style is based on casual intentions, the concluding strokes are often full of unexpected changes and filled with primitive and unadorned vitality. Inscriptions on steles in Han Dynasty (206 BCE-220 CE), known for stable elegance and strong vigour, serve not only as a model for clerical script but also as a cradle for later calligraphy styles. With knives and brushes, they boast the features of both hardness and strength. These two, seemingly primitive and plain, actually contain the secrets of the origin and development of Chinese calligraphy, which could be called the greatest principle of calligraphy.
Scripts of this style were originally written on bamboo tablets or inscribed on steles. When using brushes on Chinese art paper, it demands the calligrapher’s capability and aesthetic taste to harness the variation properly. On one hand, Qiaofu pays great attention to the transition of ancient scripts on steles and tablets to Chinese art paper, such as its features of “even yet also uneven, bent yet also unbent, seemingly connected yet unconnected seemingly broken yet unbroken”. On the other hand, he also incorporates skills of paper-based calligraphy into giving full play of brushes and Chinese art paper to seek ingenuity out of pristine plainness. His right-falling strokes, vertical strokes and ticking strokes often presents exaggerating protractions while his turning strokes often employ rounding skills, offering continuous and smooth movement with internal force yet without abrupt angles or corners, due to the artistic foundation of ancient steles and tablets. When he wields his brush rapidly, hollow strokes emerge frequently and his writing styles change significantly, which reflects his ingenuity of incorporating running script into clerical script and seal script. Moreover, Qiaofu pays great attention to the structure of the Chinese characters in calligraphy, trying to present innovation and change. In his work, the structures of the same Chinese characters present various changes yet suitable orders, with subtle arrangement in size, interval, colour and balance. There is a proper sense of rhythm in them without any exaggeration, which is mild yet not dull. Dignified yet not rigid, perfectly balanced between fastness and slowness, between motion and stillness. From the calligraphy by Qiaofu, you can feel a type of tranquil vitality, which is neither stagnant boredom nor willful motion. He injects his inexhaustible internal passion into those seemingly mild strokes, which are full of temperature and fun. This realm, which is self-sufficient yet not distant from the mundane world, originates from his mentality that is indifferent to fame and fortune but close to Mother Nature. Qiaofu, though calling himself a simple man, never holds a passive attitude towards life. On the contrary, he has a positive attitude towards life and worked in many fields. The name Qiaofu, which literally means “woodcutter”, embodies an internal mental status he expects to maintain when he is involved in mundane affairs. When free from daily tasks, he keeps working on calligraphy of steles and tablets and manages to make significant achievements, which uncovers the possibilities of more varieties and balances. Such rare willpower may stem from classics of Confucianism, Buddhism and Taoism, which also embodied in his calligraphy.
Qiaofu advocates and respects the great philosophy of “the principle of Tao follows nature” and “Tao is not far from anybody.” In his own words, calligraphy should avoid being too “intentional, willful or crafty”, and “good Chinese characters in calligraphy are those free from any affectation and follow nature, while good art forms are those free from ornaments and good at describing things and touching people’s souls”. With these concepts, he tries to express these ideas through his work and wins extensive recognition and praise from renowned calligraphers at home and abroad, such as Mr. Shen Peng, Mr. Han Tianheng, Mr. Hou Beiren and Mr. Pan Gongkai, who speak highly of Qiaofu’s calligraphy. Renowned artists and scholars such as Mr. Liu Jiang, Mr. Wang Yigi, Mr. Lin Baiting, Mr. Si Shunwei, Mr. Chen Wangheng and Mr. Chen Qirong, have written reviews on Qiaofu’s calligraphy, “Natural and Ethereal, Follow Your Heart”, “Pure Mind and Deed, Progress Based on Accumulation”, “Straightforward, Casual, Mellow and Natural”, “Primitive Qiaofu”, “Qiaofu with Huayan Buddhism as Mirror” and “Bright Moon in Qin Dynasty and Tablets in Han Dynasty.”
Soul of Ink – Calligraphy by Qiaofu, Silicon Valley Asian Art Center, USA
Solo exhibition in Japan invited by Mr. Tokugawa Tsunenari (head of the
eighteenth’s generation of the Tokugawa family) and Mr. Dalin (Chairman of Okazaki Credit Cooperative Bank, the largest private bank of Japan)
Soul of Ink – Calligraphy by Qiaofu, Art Gallery of Hangzhou Fine Art Institute, China
Soul of Ink – Tao Te Ching Calligraphy by Qiaofu, Ningbo Museum of Art, China
Soul of Ink – Calligraphy by Qiaofu, Xianghu Gallery, Hangzhou, China
Soul of Ink – Buddhism Calligraphy by Qiaofu, Manichean Hall of Xuedou Temple
Soul of Ink – Buddhism Calligraphy by Qiaofu, Yuyao Museum, China
Soul of Ink – Buddhism Calligraphy by Qiaofu, Mount Putuo Art Gallery, China
Soul of Ink – Calligraphy by Qiaofu, European Times Cultural Center of Paris, France
All his exhibitions were cherished by collectors from all walks of life.
Popular TV shows of Zhejiang Satellite TV Channel, such as “Calligraphy and Painting Garden” and “Treasure”, hosted special interviews on Mr. Qiaofu. Newspapers and magazines such as China Art Weekly, Cultural Newspaper and Hangzhou Daily, published Mr. Qiaofu’s calligraphy and reviews on his work.
汉墨楚韵 —— 樵夫书法作品简介