Curatorial Statement

Drawing and calligraphic mark-making are as essential in Western art as they are in Eastern art. Evident in the works of early American abstract expressionists, calligraphic mark-making continues to be a significant component in contemporary art across all media produced in the East and the West. Today American, Asian and European artists employ drawing and mark-making methodologies outside the formal, figurative, and representational art approaches and aesthetics. Some integrate new media and digital technologies while others consider more direct applications using a variety of media, materials and production processes. Explore contemporary interdisciplinary and multimedia drawing and mark-making applications in SPIRITED CALLIGRAPHY: TEXT, MARKS, AND MEANINGS – EAST AND WEST

Wednesday, November 10, 2010

Tsai Yu-Lung

L2: Retaining Emptiness of Guards' Remainder, Sutra.
2007
5'1 x 9'11
Sumi ink on paper
L12: Expressing Earnesty and Sincerity, Sutra.
2008
5'1 x 9'11
Sumi ink on paper


“Calligraphy, Poem, Painting...alternatively, starting from The ‘Heart Sutra’, a biblical text, which represents a great love spirit in Buddhism, with Chinese brush, ink, paper...a freedom optimistic attitude in my lines and songs from ancient to modern, from past to future, I am writing ‘a line of sentiments’ that connect last generations to next generations.”
Tsai Yu-Lung (China) is native of Taiwan and currently resides in Shanghai, China.  A graduate from Taiwan National University with a MFA 1981 in Western Painting, Mr. Tsai has exhibited both his painting and calligraphy works internationally, including at the Taiwan National Museum (1992), Xu Jiahui Art Museum (2008), Hai Gallery in London (2008), Shinseido Gallery in Tokyo (2009), and Duolun Art Center in Shanhai (2010). 

Tsai Yu-Lung website:  http://www.long123456789.com/en/
History of Cursive Calligraphy: http://www.npm.gov.tw/exh93/calligraphy9310/   
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