World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:13, No:7, 2019 Deciphering Chinese Calligraphy as the Architectural Essence of Tao Fong Shan Christian Center in Hong Kong Chak Kwong Lau atmosphere. They explored this evolving relationship in studies Abstract—Many buildings in Hong Kong are graced with such as [5]-[7]. enchanting works of Chinese calligraphy. An excellent example is Tao Zhang examined the calligraphy of the so-called “yilao” (the Fong Shan Christian Center founded by a Norwegian missionary, Karl Qing Dynasty (1644-1911) left-over scholars) and various Ludvig Reichelt (1877-1952) in 1930. Adorned with many inspiring other calligraphy groups in her works “Calligraphy of the Qing works of Chinese calligraphy, the center functions as a place for the study of Christianity where people of different religions can meet to Dynasty Left-over Scholars in the Republican Period” [8], have religious discussions and intellectual exchanges. This paper “Cantonese Left-over Calligraphers from Qing Dynasty and the examines the pivotal role played by Chinese calligraphy in creating a Early 20th Century Hong Kong Calligraphy Scene” [9] and A significant context for the center to fulfill her visions and missions. Study of Hong Kong Calligraphy and Painting Groups [10]. The methodology of this research involves stylistic and textual Working from another perspective, Mo and Deng try to analyses of works of calligraphy, in particular through an examination understand Hong Kong calligraphy of the recent decades and interpretation of their extended meanings in terms of architectural symbology and social and cultural contexts. Findings showed that through their discussions in the Hong Kong Art Biennials. Chinese calligraphy was effectively used as a powerful vehicle for a Their essays included “From the Traditional to the Modern: purposeful development of contextual Christian spirituality in Hong Thoughts on Calligraphy in Hong Kong Art Biennials” [11], Kong. “Hong Kong Art Biennial and Hong Kong Calligraphy” [12] and “Looking into 30 Years of Hong Kong Calligraphy from Keywords—Chinese calligraphy, Hong Kong architecture, Hong the Biennial Awardees” [13]. Kong calligraphy, Johannes Prip-Møller, Karl Ludvig Reichelt, Mo used his own method of categorization to generate what Norwegian missionary, Tao Fong Shan Christian Center, traditional Chinese architecture, contextual Christian spirituality, Chinese arts he calls “modes of creation” in his essay [14]. He also and culture. comments on the works of active calligraphers in “Heritage and Innovation: Shizhai zhiyou Calligraphy Exhibition: Preface 1” I. INTRODUCTION [15]. Largely through the methodology of stylistic analysis, the AO Fong Shan Christian Center is a traditional Chinese works mentioned above examine calligraphic works in building complex designed by a Danish architect, Johannes T conventional media such as ink on paper or silk, and in the Prip-Møller (1889-1943). Decorated with many beautiful and traditionally stand-alone formats such as hanging scroll and meaningful works of calligraphy, the center was assessed as a handscroll. Stylistic studies of Chinese calligraphy usually grade-two historic building by the Hong Kong Government. focus on the aesthetic and stylistic dimensions of calligraphic This paper is an in-depth research on the works of calligraphy works which cannot effectively explain how calligraphy embedded in various parts of Tao Fong Shan Christian Center. embedded in public venues can transmit broader cultural Previous research of the development of Hong Kong meanings and values to society. In view of this limitation, this calligraphy includes the following works. The pioneering effort paper examines the social and cultural implications of various to document the works by Hong Kong calligraphers is Hong works of Chinese calligraphy embedded in Tao Fong Shan Kong Calligraphy [1]. Ma’s study was basically a compilation Christian Center through an integrated methodology that of short, independent biographies of 169 Hong Kong examines 1) the intrinsic elements of calligraphy (i.e. literary calligraphers from the late Qing to the post-1949 periods [2]. A contents and the stylistic choices), 2) the architectural similar approach was used in Li’s essay in which he presents an Open Science Index, Humanities and Social Sciences Vol:13, No:7, 2019 waset.org/Publication/10010553 symbology (i.e. the interpretation of the symbols used, overview of the development of Hong Kong calligraphy including the integral elements of calligraphy, decoration, through a brief description of the activities and styles of name, Christian iconography, ritual layout and design models) quintessential artists [3]. Mo and Chen’s work was a systematic and 3) the social and cultural contexts involved in the compilation of information relevant to Hong Kong calligraphy production of the calligraphic works. Through an analysis of in the first half of the 20th century [4]. The two scholars’ earlier the historical context of Mainland China in Karl Ludvig publications focused on the subtle relationship between the Reichelt’s time; his role as a liberal Western theologian who development of early Hong Kong calligraphy and the cultural followed the contemporaneous trend to explore the synthesis of Christianity, Chinese culture and Eastern religions; his special Chak Kwong Lau is with Academy of Visual Arts, Hong Kong Baptist mission to Buddhists; and his conscious visions of a Chinese University, Hong Kong (e-mail: [email protected]). International Scholarly and Scientific Research & Innovation 13(7) 2019 962 ISNI:0000000091950263 World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:13, No:7, 2019 indigenous Christianity, this paper sheds light on the Since works of calligraphy have been widely used to harmonious incorporation of Chinese calligraphic expressions decorate Buddhist and Taoist monasteries, when seeing them of Christian doctrines into the traditional Chinese architectural non-Christian visitors might feel at home. Rendered in clerical complex of Tao Fong Shan Christian Center. script, this work is characterized by its squat-structured characters and the flaring horizontal and diagonal strokes. II. CONTEXTUAL CHRISTIAN SPIRITUALITY IN CHINESE Despite the calligraphic composition’s overall stability, the CALLIGRAPHY dramatic elongation of the horizontal and right-descending Built on a tableland called Tao Fong Shan and located east of diagonal strokes offers a strong sense of movement and rhythm Shing Mun River in Shatin, New Territories, Hong Kong, Tao (Fig. 2). Moreover, the expressive effect of the brushwork is Fong Shan Christian Center has a paradoxical appearance of a nuanced by the contrast of thick and thin at the beginnings, traditional Chinese Buddhist monastery that often triggers the centers and ends of most strokes, thus furnishing an additional curiosity of many hikers. The name Tao Fong Shan (subsequent sense of buoyancy to the calligraphy (Fig. 2). In a sense, the Romanization [pinyin]: Dao Feng Shan) is even more overall brushwork’s fluidity is flamboyant enough to be likened perplexing as the three Chinese words tao, fong and shan to the mobile nature of the visitors who are mostly Buddhist (literally mountain of the Way [or the eternal truth] and the pilgrims and other spiritual seekers and wanderers participating wind) carry strong Taoist overtones, and hence are popularly in the Center’s residency program. used to name Taoist monasteries. Many people wonder why this Christian monastery is identified with the seemingly mismatched Asian religious elements, rather than more conventional European architectural models of Christian monastery, and more common naming or dedication such as St. Paul’s or St. Peter’s. Interestingly, the center founder and Superintendent, Karl Ludvig Reichelt, who belonged to a Scandinavian mission called Christian Mission to Buddhists, explained that his mission aimed to provide the religious people in the Far East (Buddhists, Taoists, Confucianists, etc.) with an opportunity to study the Christian religion under “the best possible Fig. 1 Calligraphic expression of the original Chinese designation of conditions” [16]. In his previous missionary experience which Tao Fong Shan Christian Center. Photography by the author was started in 1922 in Nanjing, China, Reichelt saw that the monks seldom went to Christian chapels, and even if they came they felt too uncomfortable to blend with the people there [17, pp.160-161]. Hence, he endeavored to create a venue where religious people might “feel at home” [17, p.161]. To achieve this, the Christian monastery in Shatin was deliberately designed in the style of a Buddhist monastery by the Danish architect, Johannes Prip-Møller, who had conducted extensive study in Buddhist architecture in mainland China. Moreover, Reichelt carefully maneuvered literary style and a special Fig. 2 Detail of the original Chinese designation of Tao Fong Shan choice of words, names and rituals that can spark the interest Christian Center. Photography by the author and appreciation of the religious people of non-Christian religions [17, p.161]. For instance, the original Chinese When entering the Christian Center, visitors will see works designation of Tao Fong Shan Christian Center (Daofeng shan of calligraphy with elements of other Buddhist expressions jidujiao conglin 道風山基督教叢林) contains the special carved