Abstract
This work was exhibited in a group exhibition entitled “Somewhere on the Sea— Hong Kong Baptist University Christian Emphasis Week Art Exhibition”, jointly organized by The Chaplain’s Office of HKBU, The College of International Education of HKBU, Centre for Sino-Christian Studies, and Cedar Fund, exhibition venue: Parallel Space, Hong Kong, April, 2022.
This substantial work is one of the research outputs of my larger research project entitled “Synergy between Tradition and Modernity in the Reformer's Brush: An Interdisciplinary Approach to Integration of Art Historical Research with Creative Art Practice of Chinese Calligraphy,” (project no.: FRG2/17-18/100) As the PI, I received this grant from the “Hong Kong Baptist University Faculty Research Grant”
ABSTRACT for exhibition: With the theme of peacebuilding, the exhibition attempts to reveal the tension between ideals and reality, explore the feasibility of actualizing peace in this generation, and provide a chance for the audience to think whether peace is a utopian fantasy or a possibility in this world. At the same time, by focusing on the profound connections between people in today's ever-changing era, it tries to open different angles on peace.
ABSTRACT for the PI’s work Wings of the Dawn Series: I drew inspiration from the Bible and adopted from the verses: “If I rise on the wings of the dawn, if I settle on the far side of the sea, even there your hand will guide me.” (Psalm 139: 9-10, New International Version). Following the calligraphic style originated from the Diamond Sutra in the Stone Sutra Valley of Mount Tai (Northern Qi Dynasty 550-577), I deliberately chose Shek O Headland to be the site of this calligraphy performance to highlight the distance of “the far side of the sea” mentioned in Psalm: Shek O Headland is on the southernmost tip of Hong Kong Island, which is in turn at the south of southern China, the barbarian land of the ancient times. The bird’s eye view of the aerial camera and the unmanned drone circling in the air hint at elements in the verses such as “wings” and flying. The dawn, cool breeze, tides and rocks are elements of nature indispensable to this calligraphy performance. Not only do they create the context of the Bible verses, but they are also the embodiment of the calligrapher’s pursuit of the harmonious relationship between himself, calligraphy and nature, which I firmly believe are God’s creations. Actually, it was rather difficult to move my body on the rocks, but I also found unexpected joy. Blending well with its surroundings, the natural and inconspicuous brushwork completely preserves the texture of the rock’s surface as well as traces of how the calligrapher made an effort to balance himself on the rocky shore and render the calligraphy. In a nutshell, this calligraphy performance has forged a new path for creation by integrating Chinese calligraphy with site-specific performance, aerial photography and video, and demonstrated the performer’s spiritual journey.
This substantial work is one of the research outputs of my larger research project entitled “Synergy between Tradition and Modernity in the Reformer's Brush: An Interdisciplinary Approach to Integration of Art Historical Research with Creative Art Practice of Chinese Calligraphy,” (project no.: FRG2/17-18/100) As the PI, I received this grant from the “Hong Kong Baptist University Faculty Research Grant”
ABSTRACT for exhibition: With the theme of peacebuilding, the exhibition attempts to reveal the tension between ideals and reality, explore the feasibility of actualizing peace in this generation, and provide a chance for the audience to think whether peace is a utopian fantasy or a possibility in this world. At the same time, by focusing on the profound connections between people in today's ever-changing era, it tries to open different angles on peace.
ABSTRACT for the PI’s work Wings of the Dawn Series: I drew inspiration from the Bible and adopted from the verses: “If I rise on the wings of the dawn, if I settle on the far side of the sea, even there your hand will guide me.” (Psalm 139: 9-10, New International Version). Following the calligraphic style originated from the Diamond Sutra in the Stone Sutra Valley of Mount Tai (Northern Qi Dynasty 550-577), I deliberately chose Shek O Headland to be the site of this calligraphy performance to highlight the distance of “the far side of the sea” mentioned in Psalm: Shek O Headland is on the southernmost tip of Hong Kong Island, which is in turn at the south of southern China, the barbarian land of the ancient times. The bird’s eye view of the aerial camera and the unmanned drone circling in the air hint at elements in the verses such as “wings” and flying. The dawn, cool breeze, tides and rocks are elements of nature indispensable to this calligraphy performance. Not only do they create the context of the Bible verses, but they are also the embodiment of the calligrapher’s pursuit of the harmonious relationship between himself, calligraphy and nature, which I firmly believe are God’s creations. Actually, it was rather difficult to move my body on the rocks, but I also found unexpected joy. Blending well with its surroundings, the natural and inconspicuous brushwork completely preserves the texture of the rock’s surface as well as traces of how the calligrapher made an effort to balance himself on the rocky shore and render the calligraphy. In a nutshell, this calligraphy performance has forged a new path for creation by integrating Chinese calligraphy with site-specific performance, aerial photography and video, and demonstrated the performer’s spiritual journey.
| Original language | English |
|---|---|
| Media of output | Other |
| Size | Artefact of Chinese Calligraphy |
| Publication status | Published - Apr 2022 |
Scopus Subject Areas
- General Arts and Humanities
User-Defined Keywords
- Site-specific performance of Chinese calligraphy