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The Influence of Chinese Calligraphy on Western Informel Painting Was Published in German in 1985 Marguerite Müller-Yao 姚 慧 The Influence of Dr.Marguerite Hui Müller-Yao 2000 Chinese Calligraphy From 1964 – 2014 a Chinese artist was resident in Germany: Dr. Marguerite Hui Müller-Yao. She learned in China traditional Chinese arts - calligraphy, ink painting, poetry – before studying Western modern art in Germany. The subject of her artistic and scientific work was an attempt of a synthesis on between the old traditions of China and the ways and forms of thought and design of modern Western culture. In her artistic work she searched on one hand to develop the traditional ink Western Informel painting and calligraphy through modern Western expression, on the other Marguerite Müller-Yao hand to deepen the formal language of modern painting, graphics and object art by referring back to the ideas of Chinese calligraphic tradition and Painting the principles of Chinese ink painting. In her academic work she was dedicated to the investigation of the relations between the Western Informel Painting and Chinese Calligraphy. This 中國書法藝術對西洋繪畫的影響 work, which deals with the influence of the art of Chinese Calligraphy on the Western Informel painting is an attempt to contribute a little to the understanding of some of the essential aspects of two cultures and their relations: the Western European-American on one hand and the East-Asian, particularly the Chinese, on the other hand. The subject of this work concerns an aspect of intercultural relations between the East and the West, especially the artistic relations between Eastern Asia and Europe/America in Düsseldorf 2015 a certain direction, from the East to the West. The First Edition of this book The Influence of Chinese Calligraphy on Western Informel Painting was published in German in 1985. ISBN: 978-3-00-048980-8 Marguerite Hui Müller-Yao 姚 慧 The Influence of Chinese Calligraphy on Western Informel Painting 中國書法藝術對西洋繪畫的影響 Düsseldorf 2015 This book is a translation of a dissertation for the acquisition of a Doctor’s Degree (PhD) presented to the Philosophical Faculty of the Rheinische-Friedrich- Wilhelms-Universität at Bonn 1985 The original German version was published under following title: “Der Einfluß der Kunst der chinesischen Kalligraphie auf die westliche Informelle Malerei”, Köln, Verlag König, 1985, ISBN 3-88375-051-4 Translation: Dietger Müller 2015 Publisher: Dietger Müller 2015 © Text: Dr.Marguerite Müller-Yao, 1985 © Fotos: Dr.Marguerite Müller-Yao, 1985 / 2014 Dietger Müller Printed by: Buchdruck Jürgens Hamburg ISBN: 978-3-00-048980-8 The Influence of Chinese Calligraphy on Western Informel Painting Table of contents Page Preface 1 I. Introduction 3 II. The essential characteristics of Western Informel Painting 11 and their tendencies 1. The social and cultural situation and philosophical fundamentals of 11 the Informel Painting 1.1 Social and cultural situation 11 1.2 Scientific Worldview, Life Philosophy and Existentialism 12 1.3 The Taoistic Worldview and Zen ( Ch'an)- Philosophy 15 1.3.1 The Taoistic Philosophy of China 15 1.3.2 The Zen ( Ch'an 禪 )-Philosophy 25 2. The development and tendencies of Informel Painting 31 2.1 General characterization 36 2.2 The fundamentals of modern Informel Painting 36 2.3 Development and tendencies of the General Informel Painting 39 2.3.1 The development of the General Informel 39 2.3.2 The tendencies of General Informel Painting 55 2.3.2.1 The Gestic Action Painting 57 2.3.2.2 The use of signs in Informel Painting 67 3. The Calligraphic Informel 75 4. The aesthetic elements and formal principles of Calligraphic 97 Informel 4.1 Materials and means 97 4.2 Ambivalence of the artwork: the painting between action 98 and sign 4.2.1 The picture as residuum of a gesture and relic of a 98 processual action (Action Painting) 4.2.2 The picture as an aesthetic sign 99 4.3 Seismographic-automatistic expression of personality, 102 of its physical and psychological situation and its conscious and unconscious contents 4.4 Dissolution and dematerialisation of the traditional illusionistic 104 form and the concrete abstract form through gesture and sign 4.5 The indefinite or"infinite" space and the linear oscillation space 105 4.6 Light 109 4.7 Allover and non-hierarchical Structure and Composition 110 4.8 The Problem of Control of the artistic Means 113 4.9 The Prevalence of Irrationalism and the Relation of Random 115 and controlled pictorial Design 4.10 The Relation of Art and Life 117 III. Characteristics and Essentials of the Chinese Calligraphy concerning 119 the Interests of the Calligraphic Informel Painting 1. Analogy of the basic Elements of Calligraphic Informel and 119 Calligraphy: Gestic Action-Painting, use of Signs and expression of Vital Forces 2. The main types of Calligraphy and their characteristics and 128 aesthetic principles important for the Informel Painting 2.1 Elements and aspects of K’ai-Shu ( 楷 書 ) esssential for the 128 calligraphic influence 2.1.1 The writing materials 130 2.1.2 The basic rules of writing technique 133 2.1.2.1 The holding of thebrush 134 2.1.2.2 The centered brushtip ( chung-feng 中 鋒 ) 135 2.1.2.3 The brushwork 136 2.1.3 The system of fundamental calligraphic strokes as basis 143 of Tobey’s and Masson’s calligraphic elements and there execution (Yung-tzu pa-fa 永 字 八 法 ) and the Liang- Tso-Stroke 2.2 Charcteristics of the Ts'ao-Shu essential for Tobey’s 145 and Masson’s Art: Movement and action 3. For Western Art important primary formal elements and aesthetic 149 principles of Calligraphy in accordance to the terminology of the Chinese aesthetic (the application of the „Six Principles" ( 绘 画 六 法 ) 4. Therelationofartand(universal)lifeinChineseCalligraphy 159 and its relevance for the Calligraphic Informel Painting 4.1 Calligraphy as an expression of personality 160 4.2 Calligraphyasamediumofmeditation,,asexpressionand 161 experience of a transcendental being and as subordination under the universal nature 5. Analysis of the formal elements and aspects of Calligraphy 163 important for the Informel Painting 5.1 Dominance of lines and points: living / “spaceplastically” 163 lines as main elements 5.2 Gestic signs 164 5.3 Gestic, rhythm and movement: the movement as basic creative 165 element 5.4 Structure and composition: sucessive flow structure and 166 moving focus (Allover and Moving Focus) 5.5 Light 169 5.6 Image ground and linear movement as elements of the spacial 171 effect: undefinite space, linear oscillation space and the principle of "multiple space" 5.7 Time: successive flow movement and permanence of the 173 global movement 5.8 Control of the artistic means as basis of creative liberty 174 5.9 The role of the spectator 175 5.10 Ch'i-yun ( 氣 韻 ): Measurement and expression of creativity 176 and liveliness of the artwork IV. Analysis of the main calligraphic impulses and characteristics in the art of Tobey and Masson 177 1. The calligraphic influence and the understanding of the Ch'i-yun 177 ( 氣 韻 ) in the concept of the term „Essential“ by Masson 1.1 General remarks on the calligraphic influence 177 1.2 The calligraphic influence and the use of automatism 180 by Masson 1.2.1 The fundamentals 180 1.2.2 TherelationofCalligraphyandAutomatism:affinities 184 and differences 1.3 The spiritual basics of the calligraphic influence: The 190 meeting with the Chinese Taoism and the Ch’an-Philosophy 1.3.1 Taoism and Ch'an-Philosophy 190 1.3.2 Asthetic Aspects 196 1.4 The integration and implementation of linear elements of 202 K'ai-Shu- and Ts'ao-Shu-Calligraphy during the "Asiatic Period" and their effect on formal content and message 1.4.1 The relation of K'ai-Shu- and Ts'ao-Shu-Lines 206 in Masson’s art 1.4.2 Calligraphic elements as signs, abstract elements 207 and as a medium of figuration 1.4.2.1 Signs and signlike elements 207 1.4.2.2 Abstract elements and pictures 210 1.4.2.3 Figurations 211 1.5 Effects of Chinese Painting 211 1.6 Effects of the calligraphic impulse 212 1.7 The "Spirit of Life" or the "Vital Spontaneity" ( Ch'i-yun 氣 韻 ) 213 of the Calligraphy and the term of "Essential" 2. Mark Tobey’s meditative art and the technique of “White Writing” 214 (Application of the „Six Principles“ ( Liu-fa 六 法 )) 2.1 Originanddevelopmentof Tobey’s art before his meeting 216 with the art of East-Asia 2.2 The influence on Tobey on the level of ideological-philosophical 221 fundaments: Zen-Philosophy and the East-Asian worldview as basic elements of the meditative and dynamic elements in Tobey’s art 2.2.1 General remarks 221 2.2.2 CharacteristicsofChineseworldviewandaestheticsin 224 Tobey’s art 2.2.2.1 General descriptionof the calligraphic influence 224 2.2.2.2 Elementsof Chinese worldviewand aestheticsin 227 Tobey’s art 2.2.2.2.1 Unity - roundness – perfection 227 2.2.2.2.2 Polarity of contradictions 232 2.2.2.2.3 Harmony - balance – center 234 2.2.2.2.4 Ch'i-yun ( 氣 韻 ): "Vital Spontaneity" 237 or "élan vital" 2.2.2.2.5 "Spontaneous nativeness and "not 241 stand in the way ( Wu-wei 無 爲 )" and the role of the accidental and Experiment 2.3 The influence of formal principles and means of calligraphy 248 and there use, modification and effect in Tobey’s art 2.3.1 The adoptionof formal elementsof K'ai-Shu- and Ts'ao- 249 Shu-Calligraphy and their transformation into the "White Writing" 2.3.1.1 Chinese characters and their line form 249 2.3.1.2 Livinglines(movingline)asbasicelements 252 2.3.1.2.1 Generalaspectsandthebalanceof 252 ‘graphic’ and 'painteresque' lines 2.3.1.2.2 Phenomenologyofcalligraphiclines 256 2.3.1.2.3 Types and characteristics of 260 Tobey’s lines 2.3.1.2.4 The relation of K'ai-Shu-
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