The Calligraphy Of Wang Duo Of Form And Space Research

In the present Chinese calligraphy circle, "form" and "tensility" remain as the central points of concern in accomplishing and performing calligraphy. In fact, Wang Duo (1592 - 1652) had already overwhelmingly displayed all this in his works in the 17th Century.Wang Duo is considered to be a great master in pioneering and creating elaborate esthetic styles and forms in the history of Chinese calligraphy. With the achievements in his unique mannerisms and in the studies of calligraphy, he managed to secure a special status in the development of this art. From the structure of individual characters, to the assembly of words, and his composition of spatial patterns, where special attention had been paid to the layouts and the retaining and utilizing of "empty space," Wang Duo produced an artistic and aesthetic atmosphere in his works which are considered to be "novel" and "contemporary" even by today's standard. Therefore, it is well worth our full effort in carrying out an extensive study, research and analysis on his works.Wang Duo's influence on the calligraphy world is regarded as comprehensive. Research material on him and his works is quite plentiful. However, researches pertaining to the studies of "form" and "spatial arrangement" are scarce and scattered. As a consequence, the author has devoted a lot of time in collecting and examining all the available information and endeavored to present a thorough and exhaustive analysis and explanation of Wang Duo's work, commencing with the developmental changes in all of Wang Duo's works, to the exhibition and unfolding of the formation of different styles and compositions (including those in main text, inscriptions and signatures, hanging scrolls, and hand scrolls) that he employed, in accordance to the period before and after the actual recorded time of each of his completed works. The author's major research classification is based on the "external forms," and the "internal usage and quality of lines" in Wang Duo's works. The author also ventures to demonstrate and explain the habitual employment of rules and regulations governing the usage of various models in Wang Duo's calligraphy. Consequently, according to these different forms, the author re-examines the spatial and visual concepts which Wang Duo had applied in his works. What kind of innovative perceptions does Wang Duo possess? As his pioneer works are gradually being acknowledged and accepted by the present day calligraphy circle, the author wants to, at the same time, examine the kinds of enlightenment and inspiration Wang Duo has affected. These are the major questions of concern being discussed in this research.There are five chapters in this research. In the first chapter, the motives, goals, and the different research methodologies and techniques used and together with the content of this research are discussed and explicated. In the second chapter, the author briefly outlines the different important styles and atmosphere affecting the calligraphy circle in the late Ming Dynasty and discusses about Wang Duo's own calligraphy philosophy and esthetic sense, in order to emphasize and display the environment and the background of Wang Duo's learning process. In the third and fourth chapters, which are considered as the major focus of this study, there are elaborate discussions on Wang Duo's utilization of lines, the characteristics of formation, and the construction of spatial patterns and compositions. Amongst these, there will be a special discussion on Wang Duo's unique ability to initiate perceptual and visual changes, create and transform illusions in depth and focus, and instigate the interlocking of time and spatial dimensional expansion by the utilization of crooked, curved and distorted lines of characters and space, and the employment of variations in tempo and transposition. The author also discusses about Wang Duo's capability of maneuvering what appears to be "constantly changing in many ways" in his format constructions, yet producing a relationship which allows the display of his layouts to appear in an orderly effective manner. From there viewers can comprehend the master's ability to cope with both the perceptual and rational elements in his works.In the last chapter, the author attempts to, from the modern calligraphy perspective, examine and discuss Wang Duo's inspirational effect on today's calligraphy. Furthermore, by investigating the developmental tendency in today's calligraphy, and probing into the problems associating with the continuation of traditional calligraphy, the author conveys a direction for new trends and future developments. Finally, the author proposes a "Classical Linear Modernism" concept, which is based on the highlighting and displaying of the elemental and exuberant expressive nature of Chinese calligraphy, and at the same time, makes inquiries into the possibilities of expanding and strengthening the scope and profundity of Chinese calligraphy. Moreover, by using the enriched Chinese culture as a foundational source, and applying the rhythm and visual habits associating with the modern day living as a complement, the author attempts to design an exquisite and extensive form of calligraphy which is readily accepted by the modern day people. This kind of configuration actually conforms to what the present day society needs and is "in possession of both form and cultural elements."In conclusion, in "A Study of Wang Duo's Calligraphy Forms and Spatial Patterns," the author, after having examined Wang Duo's different calligraphy formats, his sense of vision, and his employment of spatial concept, temperament and esthetics, strives to organize and present these material in some logical order and thus enabling these information to be easily accessible and retrievable by students and scholars. This can be considered as the major purpose of this study.