The revised collection of essays by art historian Bai Qianshen, "Selected Essays on Calligraphy by Bai Qianshen (Revised Edition)", was recently jointly launched by Ideal Country and Shanghai Sanlian Bookstore. Bai Qianshen discussed the "theories" that have helped to promote substantial progress in the study of Chinese calligraphy history - not those theories that were popular in the academic circles of mainland China in the 1980s and 1990s, such as dissipative theory, Gödel's law and fuzzy mathematics, but some specific research studies that analyze phenomena inside and outside art to think about and respond to important art and art history issues, which provide us with problem guidance, concept prompts, thinking training and paradigm references.
In 2000, Bai Qianshen reviewed and reflected on the aesthetic interpretation, cultural analysis and methodological discussion that had been widely pursued by the calligraphy research community in mainland China over the past 20 years in his article "Some Thoughts on Calligraphy Research in Mainland China since the 1970s", and explained the research approach he advocated:
If our case studies can be carried out around some theoretical issues, they may make unique contributions to the construction of calligraphy theory. It is based on the above understanding that the author believes that in the study of Chinese calligraphy in the 21st century, case studies with theoretical concerns should be advocated. Such research can not only continuously enrich our understanding of general history, but also correct some incorrect old sayings. After accumulating more case studies and understanding calligraphy phenomena more thoroughly, the possibility of producing convincing theoretical generalizations will be greater. Such research is specific and detailed, and has theoretical concerns. It focuses on the questions and hypotheses raised by those engaged in theoretical work, and explores these issues in its own way, testing and correcting those hypotheses. It also cares about whether its research results can provide valuable evidence for theoretical generalizations.
Bai Qianshen then described the picture that the research community might present if this approach is adopted:
When possible, such research itself can draw conclusions of theoretical value after the specific research is carried out, and directly participate in the construction of theory. Detailed historical research and theoretical concern and research should constitute the two ends of tension in Chinese calligraphy research. The two seek problem awareness in each other and respect each other's discoveries. Under healthy interaction, both case studies with theoretical concerns are produced, and macro and comprehensive theories are established.
Case studies rich in details will help us deepen our understanding of past and present calligraphy phenomena, and some important details may also be the source for us to explore internal laws, open up cognitive entrances and establish interpretation models.
Selected Essays on Calligraphy by Bai Qianshen
Ten years later, Bai Qianshen compiled his articles and published Selected Papers on Calligraphy by Bai Qianshen (Rongbaozhai Publishing House, 2010), in which the aforementioned article was included. During these ten years, "case studies with theoretical concerns" have received a lot of responses from calligraphy history researchers in academic practice, and discovering historical details with theoretical significance has become a path recognized and trusted by scholars who work hard. Today, devoting efforts to finding the connection between details and theory has become the active pursuit of more calligraphy history researchers. Moreover, as research becomes increasingly detailed and even fragmented, the role of "theoretical concerns" in preventing case studies from sinking into triviality and fragmentation has become more prominent.
The "Chinese characters" created by Bai Qianshen in his article "On the Nature of Chinese Calligraphy" in 1982
In 2024, Bai Qianshen revised his collection of papers, and "Selected Papers on Calligraphy by Bai Qianshen (Revised Edition)" was jointly launched by Ideal Country and Shanghai Sanlian Bookstore. In the revised collection of papers, "A Preliminary Discussion on Calligraphy Research Methods" is placed in the "Research Methods" section together with the aforementioned articles. In this article, Bai Qianshen discussed the "theories" that helped to promote substantial progress in the study of Chinese calligraphy history - not those theories that were popular in the academic circles of mainland China in the 1980s and 1990s, such as dissipative theory, Gödel's law, and fuzzy mathematics, but some relatively specific research that analyzes phenomena inside and outside art to think about and respond to important art and art history issues. The research provides us with problem guidance, concept prompts, thinking training, and paradigm references, such as the methodological inspiration of Michael Baxandall's (1933-2008) book "Painting and Experience in 15th-Century Italy", which studies artistic phenomena from the perspective of social history. In fact, many of those theories that were once popular were proposed by scholars working in the United States, but they are not widely sought after in the humanities circles in the United States. Bai Qianshen noticed and reflected on this phenomenon, and therefore always maintained a cautious attitude when proposing and applying concepts of theoretical significance in his research. For example, he analyzed the calligraphy activities of Fu Shan ( 1607-1684/1685 ) from the perspectives of "socializing", "rhetoric" and "cultural capital". The focus on "socializing" stems from the observation that the situation in ancient China was different from that in Western society where patrons intervened in the creative activities of artists. The exploration of "rhetoric" extends the focus from calligraphy socializing as a social activity to the calligrapher's creative intention, and is also a reflection on the explanatory power of the theory of "calligraphy is the painting of the heart".
Bada Shanren's monogram comes from Xue Shanggong's Calligraphy of Inscriptions on Bronze and Tripod Vessels of Various Dynasties in the Southern Song Dynasty
Of course, to produce research with explanatory power, in addition to having a theoretical vision, it is also necessary to handle basic materials in a solid and reliable manner. As far as the study of Chinese calligraphy history is concerned, it includes the extensive collection, rigorous screening and detailed textual research of historical materials such as ancient documents and handwriting. In Bai Qianshen's research practice, these tasks have never been absent. If we regard the clarification of the interpretation and usage of Bada Shanren's signature as a gift from academia to those who are immersed in research, then the extensive use of manuscript letters in the research shows that the investment in compilation and research is undoubtedly a proof of his long-term efforts. For manuscript letters, we can see specific examples of practical application in Bai Qianshen's research, and we can also see his introduction to relevant experience in the article "Letters and Art History Research" in the revised collection of papers. In this article, Bai Qianshen introduced the collection and publication of important Chinese letters at home and abroad, and sorted out the overall process of letter research in the field of art history. At the same time, he listed some important studies that relied on letters to promote or even change our old understanding of art history. Finally, he sorted out the difficulties that may be encountered when interpreting letters. Manuscript letters are rich in historical details that are not easily found in other types of documents, but interpreting them is not easy. One may often encounter difficulties in reading characters, examining personnel and chronology, etc. Only by constantly deepening the understanding of the relevant information of both the letter writer and the letter recipient can one overcome obstacles and extract the essence from this rich treasure trove of documents.
In fact, whether it is to discover the historical details of Chinese calligraphy or to explore the theoretical implications of these details, thinking about and understanding the essence of calligraphy is an indispensable prerequisite. Bai Qianshen has been practicing calligraphy for a long time and is familiar with the calligraphy of all dynasties. In the early 1980s, he participated in the debate on "what kind of art is calligraphy". In the article "On the Nature of Chinese Calligraphy Art", Bai Qianshen stated his basic point of view - "calligraphy is not abstract art", which stems from his view that the modeling object of Chinese calligraphy - Chinese characters - is a thing with a shape that can be shaped, rather than just a symbol that records language. We should affirm that Chinese characters are things with images, and the image of Chinese characters is the object of calligraphy expression, then we will immediately agree with the judgment that "calligraphy is not abstract art". However, we have to admit that when judging the nature of calligraphy, we do encounter more and more complex problems: after the emergence of calligraphy models, especially after the emergence of calligraphy classics, most people rely on this relatively closed formal system to obtain technical training. Models are similar to realistic painters in figurative art who intend to depict the human body and use people as an objective reproduction target in a general sense. Furthermore, in calligraphy, the writing movements and states that are "materialized" into models are the real "reproduction" targets of calligraphy learners. Therefore, even if calligraphy learners get inspiration from the artistic images in the classics and create new formal languages, calligraphy seems to be inevitably close to figurative art as opposed to abstract art. However, in the process of "primitive accumulation" of calligraphy classics, there are always some initial and unique elements, so calligraphy also has obvious differences from figurative art. In addition, as Bai Qianshen emphasized, Chinese calligraphy has a strong abstract nature, which is reflected in the fact that calligraphy often cannot directly convey people's specific thoughts and feelings, but can only reflect more general aesthetic tendencies and interests. Thinking about the nature of Chinese calligraphy has undoubtedly become an important foundation for Bai Qianshen to engage in research on the history of calligraphy.
The monogram "Shiyousanyue" in Bada Shanren's "Anwan Book" in 1694
Calligraphy in the late Ming and early Qing dynasties was an area that Bai Qianshen paid attention to earlier in his art history research. The revised edition of the collection of papers contains six related articles that explore many calligraphy phenomena in this historical period. Disease, Disability and Deformity in 17th-Century Chinese Art interprets the diseases, disabilities and deformities of the bodies of calligraphers and painters living at the time of the Ming and Qing dynasties, which were disclosed through inscriptions, signatures and seals, as well as the fragmentation, ugliness and brokenness they expressed in art, from the perspectives of political change, identity crisis, emotional metaphor and self-mockery. The Influence of the Revival of Epigraphy in the Early Qing Dynasty on Bada Shanren's Calligraphy in His Late Years analyzes the changes in Bada Shanren's (1626-1705) calligraphy style in his later years from the perspectives of the political background, ideological trends and literary exchanges in the late Ming and early Qing dynasties, and how they were influenced by the new aesthetic view of calligraphy that emerged due to the revival of epigraphy. The book "An Interpretation of Bada Shanren's Signature "Tenth Month"" clarified that the meaning of the signature is "Tenth Month", not "March 19" as Gu Wenbin (1811-1889) interpreted it, and also clarified Bada Shanren's use of it to mark the leap month. "Miscellaneous Discussions on Couplets" mainly focuses on couplets written on paper and silk fabrics, which can be hung on the walls of halls for appreciation after being framed. The writing and use of couplets probably became a trend in the early Qing Dynasty, and since then, couplets have been an important form of calligraphy. "Inscriptions, Calligraphy and Seals on Jingdezhen Porcelain during the Shunzhi Period" and "Ceramics and Books: A Study of the Kangxi Blue and White "Changjiang Juyong" Guanyin Vase in the Guanlu Garden" both focus on the writing on Jingdezhen porcelain in the early Qing Dynasty. The former article explores the identity characteristics of the porcelain consumer group by analyzing the cultural connotations and aesthetic tastes reflected in the writing, while the latter article finds that the blue and white "Changjiang Juyong" Guanyin vase in the Guanlu Garden may be the "porcelain version" of the poetry collection compiled by four literati after the gathering.
A pen holder made in Jingdezhen during the Kangxi period was decorated with words
In addition to the calligraphy of the late Ming and early Qing dynasties, Bai Qianshen has also devoted himself to the study of calligraphy of the late Qing dynasty. The revised edition of the collection of papers includes four related articles, three of which are centered on Wu Dacheng (1835-1902). Bai Qianshen has long been concerned with Wu Dacheng's calligraphy and documents, and has explored the activities of rubbing and collecting by literati in the late Qing dynasty with Wu Dacheng as the center, especially through Wu Dacheng's specific analysis of the social mechanism of collection activities in the late Qing dynasty. The three papers in the collection, "Wu Dacheng's Seal Script", "Wu Dacheng and His Artist Staff", and "Wu Dacheng's Cultural and Artistic Activities in Jilin in 1886", focus more on Wu Dacheng's artistic activities, outlining the changes in Wu Dacheng's seal script from the 1850s to the 1890s, the development of his personal style, and the evaluation of his teachers and friends. They also examine Wu Dacheng's experience as a vassal before and after he passed the imperial examination and the artistic activities he carried out with his staff in his own shogunate after he became an official. They also examine the completion process and context of Wu Dacheng's calligraphy and painting creation, rubbings and writing during his second mission to Jilin in 1886. While presenting specific historical details, these three papers also have a greater concern - the spare time allocation and knowledge structure of the late Qing Dynasty literati, as well as the social changes encountered by these social elites in ancient China. These concerns allow specific historical details to be placed in the context of a larger historical context, and in fact provide readers with a delicate source of materials for constructing an image of history in their minds. The same concern is also reflected in "Calligraphy in the Daily Life of Late Qing Officials", which examines the daily calligraphy lessons and calligraphy social activities recorded in the diaries and letters of more than a dozen late Qing officials. As the social elites of the time, these officials generally did not sell their calligraphy, but in order to meet the large demand for calligraphy in daily life, they wrote an astonishing number of couplets and fans. At the end of the article, Bai Qianshen wrote: "Studying the calligraphy activities in the daily life of the last one or two generations of officials in the late Qing Dynasty has become an important perspective for observing the cultural life of the Chinese social elite in the midst of great changes."
Wu Dacheng's early seal script works
In the great changes in China in the 20th century, calligraphy has also undergone great changes. Bai Qianshen paid close attention to calligraphy in the 20th century, explored the impact of the changes in the elite structure of Chinese society in the 20th century on calligraphy, and also observed other aspects of calligraphy in this period. "Archaeological Discoveries and Calligraphy Creation in the 20th Century" sorted out the calligraphy creation based on 20th century archaeological materials such as oracle bone inscriptions, bamboo slips and Dunhuang manuscripts. These archaeological discoveries were included in the scope of calligraphy, which was an extension of the epigraphy of the Qing Dynasty and the idea of "there are books besides the two kings". "A Brief Discussion on Text Landscape Painting in the 20th Century" connects and analyzes "a kind of landscape painting composed of text or embedded in the landscape" and some conceptual art that uses text as a visual composition element. The similarities between the two show that Chinese characters are an important visual resource in the eyes of 20th century artists.
Ding Yanyong's Portrait Seal
Ding Yanyong (1902-1978), a 20th century painter, once used ancient characters in his paintings. Mr. Ding, who was also good at seal carving, often used pictographic characters from oracle bone inscriptions and bronze inscriptions in his seals. He went beyond the Qin and Han seals that were highly regarded in the seal carving world and drew more inspiration from the pre-Qin period. His seal style is ancient and solemn. The article "A Brief Discussion on Mr. Ding Yanyong's Seal Carving" introduces and analyzes the cultural background, artistic origins and style characteristics of Mr. Ding's seal carving.
Shen Yinmo wrote a small note in running script for Zhang Chonghe
In the first half of the 20th century, the situation in China brought about the regional mobility of intellectuals, artists, etc., and also witnessed the calligraphy and painting affinity between teacher and student Shen Yinmo (1883-1971) and Zhang Chonghe (1913-2015). The article "Shen Yinmo and Zhang Chonghe" outlines the past when Zhang Chonghe asked Shen Yinmo for advice on art during his tenure in Chongqing, and also introduces several pieces of calligraphy written by Shen Yinmo in Chongqing that Zhang Chonghe collected. Jiang Zhaoshen (1925-1996), a calligrapher who was mainly active in the second half of the 20th century, provided inspiration for Bai Qianshen to think about the individual and collective "reference systems" in calligraphy. "Risky and Graceful: A Brief Discussion on the Relationship between Ouyang Xun's Regular Script and Mr. Jiang Zhaoshen's Calligraphy Reference System" analyzes the reference system with "rising and graceful" as the aesthetic ideal, which Mr. Jiang established in his long-term calligraphy practice, as well as the role played by Ouyang Xun's regular script, to which Mr. Jiang devoted much effort, in the establishment of this reference system. In the reality that the collective reference system of calligraphy has undergone tremendous changes since the 20th century, observing Mr. Jiang's personal reference system, which is closer to tradition, has its own special contemporary significance.
Letters from Wang Shimin to Wang Hui (from the collection of Fengjiang Book House)
Bai Qianshen also has the contemporary concern of an art historian, or the concern for contemporary calligraphy as an art history, which is concentrated in "Being a Disciple of the Ancients and Juanjuan Hair Salon: Reflections on the Classic Issues of Calligraphy" (Hubei Fine Arts Publishing House, 2003; Rongbaozhai Publishing House, 2009; Guangxi Normal University Press, 2016), and can also be seen in "Notes on the Writing of Contemporary Calligraphy History" and "Reflections on the Contemporary Text Environment and Related Art History Writing" included in the revised edition of the collection of papers. Regarding the contemporary calligraphy history, Bai Qianshen reminds us: while referring to the style of calligraphy history in the past, we should also pay attention to some phenomena, such as calligraphers who are not well-known but have a certain level, the contemporary text environment, and some contemporary institutional factors related to exhibitions and calligraphy organizations; at the same time, researchers can also directly participate in the writing of the contemporary, such as using quantitative analysis methods to study contemporary calligraphy exhibitions. Such data may be used by scholars who study the calligraphy history of our time in the future. Bai Qianshen's focus on these easily overlooked contemporary calligraphy activities stems from his observation of the differences between ancient and modern times, and also from his thinking about the inevitability and contingency hidden in the so-called "mechanism" of historical selection and time elimination. In fact, Bai Qianshen has indeed participated in contemporary writing through his own research. His photos of contemporary daily writing and his research on these writings, in today's world where handwritten store signs and slogans like "Juanjuan Hair Salon" are becoming increasingly rare, have included "irregular and interesting" writing in the thinking of calligraphy history writing. Isn't this also an effort to preserve the "history" of contemporary writing?
The textual landscape of Shen Hongcha (1902-1985)
We often admire a historian for capturing an event that has sunk into the past, and then step into the historical scene of its "reappearance" with envy. However, we must also remind ourselves that the sensitivity of historians can also be reflected in the overall presentation of the long historical context. The article "Chinese Letters: The Publicization of Private Words" in the revised collection of papers sorts out the overall situation of ancient Chinese letters being collected and used as calligraphy models, and also introduces the writing etiquette, writing style and paper used by the ancients when writing letters. For these summaries of the history of Chinese letters, Bai Qianshen chose to develop around the question of "how private letters were made public and how they moved from private space to the public domain". Taking this issue as the clue to explain the key changes in the history of Chinese letters, it makes the sorting of historical context a topic and the writing of the general theory "problematic". This shows Bai Qianshen's sensitivity in presenting the historical context.
The last article in the revised edition is "Collection and Research of Chinese Calligraphy in the United States", which introduces the main collection, exhibition and research of Chinese calligraphy in the United States, as well as the overall process of American people's acceptance, understanding and appreciation of calligraphy. For foreign countries across the ocean, Chinese calligraphy brings cultural differences, causing some difficulties in aesthetics and understanding, and perhaps also inspires people's interest in exploration and visual freshness; for us, calligraphy is a cultural heritage, and understanding the details and context of its evolution process may help increase our understanding of tradition. For Bai Qianshen, calligraphy is of course still the academic inkstone where he has devoted his efforts for a long time, and the spiritual world where he embodies his love. "Selected Papers on Calligraphy by Bai Qianshen (Revised Edition)" is the proof of his efforts and love.