In and
out of the boundaries of tradition, and more new ideas--
Calligraphy of Mr. Yue-Pin Kwong, a painter
Chung-hsuen Chang
Quoted from ainting skill
in the cultivation hut", it suggests that o learn
drawing after brush writing is a change of form instead
of means. Drawing is the cause of writing; writing is
the means of drawing. It is alluded into dropping needle
and falling down, galloping thunder and descending rock,
eagle flying and beast frightening, phoenix waving and
snake scared, vain case and sliding peak, and composing
in danger. Therefore there are different sorts of unexpected
means that both calligraphers and painters can perform.
Yet they are closely connected. They reach the same goal
by different route and are almost similar.
Among the broad universe,
you can view serene forests, clear skies and other creatures,
green bamboo, or blooming plums and orchids, creating
a feeling of soul stirring. Then you begin painting to
express your thought of mind! To reach the acme of the
art realm, it goes through spiritual territory, to the
origin of life, which applies to the fact that art is
via rule, and rule is matched with art. As a result, splendid
flowers of life are flourishing!
Mr. Yue-Pin Kwong has devoted himself in art education
for forty years. He advocates
The creation of innovative orthodox art, and the finding
of new direction for Chinese art development. On the other
hand, he has always tried to make a breakthrough out of
his own art creation. Five years ago, he held an exhibition
at the Provincial Art Museum. Five years later, he has
accomplished kinds of ideas and creations to share with
the public.
Being a descendent of the 75th generation of Confucius,
Mr. Yue-Pin Kwong is proud of his ancestors and has self-respect
in his learning. No matter whether passing from place
to place, no matter what hardship he has had to overcome,
he has always been optimistic and enjoys his art learning.
Hence, he has become what he is now. From his childhood,
he has had a scholar-gentry family, read our Books &
Five Chins' by heart and studied calligraphy and paintings
regardless of being ancient or modern. He has created
his own ideas through imitation with an upright mind;
that is to say, he has contained inside and transpired
outside. So we can sense his ideas floating on paper.
Mr. Kwong recent monography is titled lending of ancient
and modern-calligraphy of a painter" and oot and
leaves-painting of a calligrapher" in separate volumes.
In the paintings, there are more Romantic hues, but are
not very modern; in calligraphy, there are more classical
ones, but are not conventionally old. Landscapes, plums,
etc. are drawn in books and some are painted on ceramics,
which are freshly new. Only those who have a creative
mind and have a will to succeed can achieve this. We admire
Mr. Kwong lasting effort in the field of art creation
and he is a good example to follow.
In 1995 (year of the
pig) famous artists drew pictures together. Mr. Kwong
drew one named igh" and he wrote that we are onely
in history, perplexed and mourning. God, are we going
to die?" What a sigh! It an allusion that makes
Reflections arise and it is indeed an echo. His lending
of ancient and modern-Calligraphy of a painter" and
oots and leaves-painting of a calligrapher" precisely
evinces interesting ink use in terms of being active and
calm, slow and fast, dark and light, dry and wet, and
dull and plump. It is likened to a variation playing with
an unrestrained melody and proves to reach the achievements
of painting after succeeding in writing. Quoted from He
Hsieh ix rules in the appreciation of ancient paintings",
it asserts the vivacity of mood, skeleton structure, application
of form, variety of color, management of position, and
imitation of transformation. This pays attention to every
detail and is valuable for reference.
In and out of the boundary of tradition
The structure of Mr. Kwong works
is within the boundary of tradition, stemming from the
boundary of tradition with a vital mood. On the other
hand, it is also out of boundaries of tradition, adapted
from within the boundary of tradition to the acme of
perfection. It is not easy for a novice to fully appreciate
such complexities. Mr. Kwong calligraphy covers 5 forms,
for he has a mastery of compressive study. He makes
full use of the beauty of handwriting and presents it
on paper. It is acclamatory that he has sound basic
training from tradition, and then out of the boundaries
of tradition, and what marvelous achievements he has
created.
More new ideas
On anyon and the river", the
red tree is full of clear energy and of an ancient mood,
containing powerful strength. On ed and black",
the sharp contrast between red and black distinguishes
as the old saying goes of red being pretty, and black
being graceful. The sense of beauty is not conventional,
moreover is out of traditional boundaries providing
a brand new idea. Furthermore, the paintings on ceramics
serve as tactful practice from his heart, while the
heart is completely purified and unrestrained. It is
said by Mentor Tung-yuan he painting matter involves
trance and variety. To adapt a suitable image can inspire
one broad will and evoke his noble spirit".
Enjoying all the time
void and clear mind is just like evergreen
pine and a bright moon" is the phrase that Mr.
Kwong himself considers as one level of life. He also
said that artwork is definitely is difficult to create,
but difficult to produce artwork are not necessarily
the best pieces. Art creation focuses on the sense of
beauty. Life treasures the search for truth, practice
of goodness, and the creation of beauty, and it is cherished
to combine beauty and goodness in order to express real
emotion. Regardless of the attainment of fame, he enjoys
himself all the time in painting and handwriting, free
to depict natural scenery and creatures. He follows
the old, he follows nature, and he practices the principle
of art for personality, art for life. He neglects the
pressure of aging, has the spirit of continuing on despite
his age, and devotes himself in painting and calligraphy.
His benefits to society suffice enough.
After the Communists occupied Mainland China, Mr.
Kwong moved to Taiwan alone. He had no one to depend
on. Yet he strived to enter the art department of the
Taipei Normal College, Chinese painting section of the
National Art College. Instructed by famous mentors,
he received solid training. He built up from nothing,
and now has a kind wife and filial son. The Kwongs are
also devoted to charitable causes. When our Government
lifted the restriction to travel to Mainland China,
he got the chance to wait upon his mother, with admiral
filiality. Mr. Kwong has achieved an artistic career.
He has been an art teacher for years and retired from
the Yin-chiao Junior high school. In addition, he is
the chairman of the China Calligraphy Association, in
his 2nd tenure, to promote the art of handwriting. Therefore,
his skill in painting and calligraphy are equally matched,
as it is said, here is a picture in writing while writing
in the picture." His fame follows his merits.
Lived in Yung-ho, Mr. Kwong has another office at
Han-chou S. Road. In his daily life, he enjoys chatting
with visitors while he writes discussions; when he is
alone, he concentrates on writing as well. So, when
he has visitors, they discuss painting and calligraphy;
when they leave, he gives them his works. For 50 years,
he has been in the habit of continuous painting and
writing, and has achieved his reputation gradually.
Born with talent, he works hard and makes friends with
gentlemen. He swims to strengthen his body, he plays
chess for fun, and he paints on ceramics in Ying-ko,
which is both interesting and much applauded. Mr. Kwong
considers painting and writing as the spice of life,
so he repeatedly teaches student based on appreciation
of writing. In viewing Mr. Kwong art, it is broad and
free. His painting and calligraphy is equally matched
and we can conclude that his art is via rule while rule
is matched with art.
Whenever Mr. Kwong creates wonderful
works, he thinks they are of little value, yet actually
they are precious artwork pieces. According to ua Chuan
Che Lan", he says that original atmosphere in the
woods is calm, reckless writing fails to stir calm atmosphere;
original appearance of the spring is elegant, improper
ink fails to be graceful. Using the brush to paint the
curving corner of the mountain, and ink to draw fog
in the shadow of the tree. When writing, skillful artists
are experts in using ink, while with ink the able ones
are good at using brushes. Ink represents the muscles
and bones of the brush and the brush is the pinnacle
of the ink. When the brush is over, the ink is scorched;
when the ink is over, the brush melts. For years Mr.
Kwong artwork has been abundant and he has compiled
them into publications. After months of editing, his
third monography has finally been printed into separate
volumes of painting and calligraphy, and there are pictures
and writing, poetry and compositions. This is an unprecedented
piece of work; if it is not unrepeatable, it encourages
new comers a lot. Therefore, this Publication represents
a spectacular event in the art field for common readers.
I would like to write down this fact for reference.
Chung-hsuen Chang
(Professor of graduate school of the National Normal
University, and a writer)
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