The Investigation and Recording of Contemporary Taiwanese Calligraphers The Ink Trend Association and Xu Yong-jin Ching-Hua LIAO Submitted in partial fulfilment of the requirements of the Degree of Professional Doctorate in Design National Institute for Design Research Faculty of Design Swinburne University of Technology March 2008 Ching-Hua LIAO Submitted in partial fulfilment of the requirements of the Degree of Professional Doctorate in Design National Institute for Design Research Faculty of Design Swinburne University of Technology March 2008 Abstract The aim of this thesis is both to highlight the intrinsic value and uniqueness of the traditional Chinese character and to provide an analysis of contemporary Taiwanese calligraphy. This project uses both the thesis and the film documentary to analyse and record the achievement of the calligraphic art of the first contemporary Taiwanese calligraphy group, the Ink Trend Association, and the major Taiwanese calligrapher, Xu Yong-jin. The significance of the recording of the work of the Ink Trend Association and Xu Yong- jin lies not only in their skills in executing Chinese calligraphy, but also in how they broke with tradition and established a contemporary Taiwanese calligraphy. The documentary is one of the methods used to record history. Art documentaries are in a minority in Taiwan, and especially documentaries that explore calligraphy. This project recorded the Ink Trend Association and Xu Yong-jin over a period of five years. It aims to help scholars researching Chinese culture to cherish the beauty of the Chinese character, that they may endeavour to protect it from being sacrificed on the altar of political power, and that more research in this field may be stimulated. I Acknowledgement I would like to acknowledge the assistance in this doctoral study from my principal supervisor, Professor Allan Whitfield. He is not only an excellent communicator, but is also a professional supervisor. I would like to thank Nanette Carter who has had the patience to watch my documentaries and provide me with many professional suggestions. Additionally, I am immensely grateful to my family. To my wife, Lin Li-shan, without whose encourage I could not have finished my doctoral study. When my daughter Vivian was seven years’ old, she chose to accompany me to Australia for two years. She was a comfort during my bouts of homesickness and she gave me the power to overcome difficulties. My thank-you list would be incomplete without her name. II Candidature Declaration I certify that the thesis entitled: The Investigation and Recording of Contemporary Taiwanese Calligraphers—The Ink Trend Association and Xu Yong-jin submitted for the degree of: Professional Doctorate in Design is the result of my own research, except where otherwise acknowledged, and that this thesis in whole or in part has not been accepted for an award, including a higher degree, to any other university or institution. Full Name Ching-Hua Liao Signed Date III Table of Contents I Abstract II Acknowledgement III Candidature Declaration IV Table of Content VI List of Figures 1 Section 1- Introduction 5 Section 2 - The Significance of Chinese Calligraphy 13 Continuing traditional Chinese culture within Taiwan and Mainland China 18 Origin and development of Taiwanese calligraphy 21 Taiwanese contemporary calligraphic art versus traditional calligraphic art 24 Position of Taiwanese modern art and Chinese modern art in the world 27 Section 3 - An Investigation of the Ink Trend Association and Xu Yong-jin 28 The Ink Trend Association—pioneers of Taiwanese contemporary calligraphy 28 Birth of the Ink Trend Association 29 Political and social activities connected with calligraphic art 33 Contribution to Taiwanese contemporary calligraphy 37 Calligraphic art of the Ink Trend Association 69 Xu Yong-jin—a man who has devoted his life to calligraphy 69 Rebellion, resistance and an insight into Xu’s calligraphy Philosophy 71 Analysis and recording of the artwork of Xu Yong-jin 82 Section 4 - Taiwanese Arts Documentaries 83 A brief history of documentary filmmaking in Taiwan 87 Fundamental problems of Taiwanese documentaries 91 New possibilities in documentary production IV Table of Contents 98 Section 5 - Conclusion 101 Appendix 107 Bibliography V List of figures Figure 2.1 Han character: eight principles of ‘yong’ Figure 2.2 Female character Figure 2.3 The skills of holding the brush Figure 2.4 Different kinds of brushes Figure 2.5 Autobiography of Huai Su (AD 830-870) Figure 2.6 The paintings of Wang Wei Figure 2.7 The work of Yue Fei Figure 2.8 The work of Hui Zong Figure 2.9 Seal script Figure 2.10 Cursive script Figure 2.11 The character painting of Lu Fo-ting Figure 2.12 Ju Ming, Tai Chi Single Whip, sculpture, 1985 Figure 2.13 Xu Bing, Square Word: New English Calligraphy for Beginners, 1996 Figure 2.14 Xu Bing, A Case Study of Transference, 1994 Figure 3.1 Members of the Ink Trend Association in 1994 Figure 3.2 Respect to the Martyrs of Tian An Men, 1989 Figure 3.3 We Have Grown up Drinking the Milk of Traditional Calligraphy, 1993 Figure 3.4 The performance art of the Ink Trend Association, 928 Vanguard Art Announcement, 1984 Figure 3.5 Li Zai-qian, The Low Limit of Infinitive, spray paint on steel plate, 1983 Figure 3.6 Respect Heaven and Fear God, 1985 Figure 3.7 Xu Yong-jin, Chinese Calligraphy Is Framed by Traditional Calligraphy, curving on sand, 1994 Figure 3.8 Yang Zi-yun and Lian De-sen, Ink Trend, beach and stones, 1994 Figure 3.9 The Ink Trend Association, Does, ink on paper, 1994 Figure 3.10 Yang Zi-yun, Years, beach and stones, 1994 Figure 3.11 Performance art of the Ink Trend Association in Korea, 1992 Figure 3.12 The article of The Ink Trend Association in ‘Art Magazine’, 1993 Figure 3.13 Zheng Hui-mei, Holding the Life-force of Taiwan, ink on clay, 1993 Figure 3.14 Zheng bound herself with wrinkled papers which is her husband’s works, 2003 Figure 3.15 Zheng Hui-mei, Offering Sacrifice to Calligraphy, ink on paper, fire and earth, 1994 Figure 3.16 The calligraphy wedding party of Xu and Zheng, 1982 VI List of figures Figure 3.17 Liao Can-cheng, Dao-philosophy, ink on paper, 1993 Figure 3.18 Liao Can-cheng, Autumn, ink on paper, 1992 Figure 3.19 Liao Can-cheng, 2004 Figure 3.20 Liao Can-cheng, The Flying Vultures in the Sky of Taiwan in the End of Century, colour ink on paper, 1992 Figure 3.21 Yang Zi-yun is also a vocal musician, 2003 Figure 3.22 Yang Zi-yun, To Get together, ink on paper, 2001 Figure 3.23 Yang Zi-yun, A Dream of Play, colour ink painting, 1994 Figure 3.24 Yang Zi-yun, Nine Songs, ink on paper, 1993 Figure 3.25 Yang Zi-yun, I Am just a Little Bird, colour ink painting, 1994 Figure 3.26 Xu Yong-jin, 2002 Figure 3.27 Xu Yong-jin performed writing cursive script in the show When Calligraphy and Painting Meet Music in 2001 Figure 3.28 Xu Yong-jin, The Naked Women and Cursive Script 2, ink on paper, 1997 Figure 3.29 Xu Yong-jin, Happy and Cool, curving on styrofoam, 1994 Figure 3.30 Zhang Jian-fu can play many musical instruments, 2004 Figure 3.31 Zhang Jian-fu, The Sacrifice Ceremony of Calligraphic Art Number 841, pictures and ink on paper, 1984 Figure 3.32 Zhang Jian-fu, Wall Calligraphy of the Homicide Case of Henry Liu, board, spray paint and ink, 1985 Figure 3.33 Zhang Jian-fu, Mourning to Nagoya Crash, Pictures, clip and paste on card, 1994 Figure 3.34 Cai Ming-zan, 2004 Figure 3.35 Cai Ming-zan, Dancing Sheep B, colour ink on paper board, 1994 Figure 3.36 Cai Ming-zan, Relativity, Pictures, ink on paper, 1994 Figure 3.37 Cai Ming-zan, Wu Fo Chu Chen Zun, cloth and carved status, 1993 Figure 3.38 Chen Ming-gui, 1994 Figure 3.39 Chen Ming-gui, Money, colour ink on red paper, 1994 Figure 3.40 Chen Ming-gui, Sigh! Life, colour ink on red paper, 1994 Figure 3.41 Chen Ming-gui, Life Is Like a Dream, ink on paper, 1993 Figure 3.42 Lian De-sen, 1993 Figure 3.43 Lian De-sen, Treading Culture, colour ink on paper, 1993 Figure 3.44 Lian De-sen, Walking Turtle, colour ink on paper, 1993 VII List of figures Figure 3.45 Lian De-sen, Education, book of stone rubbings and human body, 1994 Figure 3.46 Xu Yong-jin, Pig, Ox and Dog, ink on paper, 1994 Figure 3.47 Xu Yong-jin, Dragon, cloth on grass, 1994 Figure 3.48 Xu Yong-jin, Taiwanese Does Culture, colour ink on paper, 1994 Figure 3.49 Xu Yong-jin, Drift, Rush and Wild Whirlwind, ink on paper, 1996 Figure 3.50 Xu Yong-jin, Taiwan, colour ink on paper, 2001 Figure 3.51 Xu Yong-jin, Comfort Women, ink on paper, 2001 Figure 3.52 Xu Yong-jin, Oil Pollution, ink on paper, 2001 Figure 3.53 Xu Yong-jin, Big Shake, colour ink on paper, 1999 Figure 3.54 Xu Yong-jin, Cursive and Nude Women 1, ink on paper, 1998 Figure 3.55 Xu’s childhood, front line right first, 1958 Figure 3.56 When Xu restored in the hospitable, he tried to use his left hand to draw picture, 2004 Figure 4.1 Spreading effect Figure 4.2 Strong contrast effect Figure 4.3 Split screen footage Figure 4.4 Split screen footage Figure 4.5 Shaking effect Figure 4.6 Overlapping effect Figure 4.7 Quick motion effect Figure 4.8 ‘Does’ characters appeared one by one to express the different meaning of this character VIII Section1 Introduction 1 Section 1: Introduction At the beginning of 2006, a report appeared announcing that from 2008 the United Nations will only use simplified Chinese characters in its organisation.1 This report prompted supporters of traditional Chinese characters (standardized form of Chinese characters) to protest to the United Nations.