A Sole Exhibition Featuring the Magic of Black and White
→Reflection
1. Activity background:
The “Changhua County Artists Exhibition Relay” organized by the Changhua County Cultural Affairs Bureau has entered its 19th birthday, and the calligrapher Chuang Lien-peng from the “The Nine Prodigies of Huangsi” happened to be the 69th exhibitioner.
2. Activity date and venue:
Date: Two weeks starting from October 26th, 2013
Venue: Changhua Arts Museum
The “Changhua County Artists Exhibition Relay” organized by the Changhua County Cultural Affairs Bureau has entered its 19th birthday, and the calligrapher Chuang Lien-peng from the “The Nine Prodigies of Huangsi” happened to be the 69th exhibitioner.
2. Activity date and venue:
Date: Two weeks starting from October 26th, 2013
Venue: Changhua Arts Museum
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3. Activity content:
The sole exhibition comprised two sections: calligraphic works with more Chinese characters and less Chinese characters. Styles of exhibited Chinese characters in calligraphic writings ranged from neat, square, and angular to slanted, distorted, and curved. Whether in flat or long styles, black-inked strokes of Chinese characters on white paper made different visual impacts on viewers. The sophisticated techniques in the alternation between “wet” and “dry” brush strokes to create the optimal configuration and texture was to bring spectators into a new horizon of “looking at the black through the white”.
Beginning the introduction of the 10 displayed calligraphic works, Mater Chuang Lien-peng stated that he enjoyed seeing lively Chinese characters in different styles, which resembled young school children in different heights and body shapes. The 10 exhibited Chinese calligraphic works of “Commentary on Lin Bu’s Poetry and Calligraphy” by Su Shih (蘇軾) were written in cursive script. Containing different lengths of Chinese characters, each work was created after repeated examination, constant reflection, and absolute satisfaction with the previous one.
The sole exhibition comprised two sections: calligraphic works with more Chinese characters and less Chinese characters. Styles of exhibited Chinese characters in calligraphic writings ranged from neat, square, and angular to slanted, distorted, and curved. Whether in flat or long styles, black-inked strokes of Chinese characters on white paper made different visual impacts on viewers. The sophisticated techniques in the alternation between “wet” and “dry” brush strokes to create the optimal configuration and texture was to bring spectators into a new horizon of “looking at the black through the white”.
Beginning the introduction of the 10 displayed calligraphic works, Mater Chuang Lien-peng stated that he enjoyed seeing lively Chinese characters in different styles, which resembled young school children in different heights and body shapes. The 10 exhibited Chinese calligraphic works of “Commentary on Lin Bu’s Poetry and Calligraphy” by Su Shih (蘇軾) were written in cursive script. Containing different lengths of Chinese characters, each work was created after repeated examination, constant reflection, and absolute satisfaction with the previous one.
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4. Afterthoughts:
While Chun-lin and his/her mother were enjoying displayed artworks at the exhibition, a warmhearted senior member of a calligraphy club initiated to guide them. Meanwhile, Jou-wei and his/her parent ran into a lady, who curiously asked Jou-wei what s/he was studying on. Elementary school students showing up at a calligraphy exhibition did cause a rumpus!
While Chun-lin and his/her mother were enjoying displayed artworks at the exhibition, a warmhearted senior member of a calligraphy club initiated to guide them. Meanwhile, Jou-wei and his/her parent ran into a lady, who curiously asked Jou-wei what s/he was studying on. Elementary school students showing up at a calligraphy exhibition did cause a rumpus!
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