鄉土懷慶

Reaching the highest realm in Chinese calligraphy and painting requires inheriting tradition while pioneering new styles.

Innovation in Chinese painting and calligraphy must be grounded in tradition, or else it becomes mere scribble that is neither Western nor Chinese. While a few blind scribblings lacking any spirit or import have become famous or popular, the judgment of the uninformed ultimately never qualifies such works to stand as treasures of the ink and brush.
The strokes of truly successful Chinese painting and calligraphy must rise above the mundane yet escape artifice, and exude a scholarly air and the aura of ancient stone seals. Artists who aspire to a level of artistic creation that exceeds even masterpiece status must reign in his mature painting style for a subdued hand, shedding all superficial flourishes.

Described as a mature hand within a childlike state, such a hand returns to the source. The painting includes everything from innocent whimsy to jagged strokes resembling inscriptions on ancient stone seals. Mature brushwork is nevertheless applied with a childlike mindset, with a painterly hand that moves freely, unselfconsciously, and without inhibition.

Spontaneous brushstrokes appear at once painterly and calligraphic, apparent clumsiness veils controlled elegance, power is deftly internalized, and spirit is not drawn but expressed – only then does an artwork achieve ultimate class and truly embody spirit.

The brushwork and spirit of “Nostalgia for the Homeland” reaches just such a level. This artwork is painted in the “Xiangtong” style. A photograph of a reproduction of this painting was featured in previous publications, and bore the simple inscription of “Yee.” The original painting was only recently inscribed with “Dorje Chang III,” and stamped with a three-dimensional, eight-jewel, gold-inlaid fingerprint seal.

The full inscription reads: “Twenty-six springs have passed, and feelings for the homeland pervade the scroll. Years past saw duplicate copies, and today this inscription completes the original. Twenty-six years have been borne away by impermanence, and this original painting has long been preserved secretly. The images in the books show reproductions of the original work. As the former inscription was lacking, the genuine piece I left for this day to inscribe. For the same reason, over thirty exquisite pieces, including ‘Year of the Buffalo,’ ‘After the Rain,’ ‘Mist, Clouds, and Autumnal Color,’ ‘Lotus Flowers and Fish,’ and ‘Brushwork that Has Reached a Holy State’ also receive their authenticating inscriptions today. All pieces stamped with the three-dimensional, eight-jewel, gold-inlaid fingerprint seal are genuine.