Master Wang Zhen: Calligraphy Insights

By HAI AO

“Learning calligraphy, first of all, is about inheritance, and every stroke should have a source as calligraphy is like dancing in shackles, and innovation without inheritance is worthless.”

Wang Zhen (left) and Mo Yan (right) at Wang’s calligraphy exhibition vividly showcasing the story of Wang and the magpies through over 110 calligraphy and photographic works.

AFTER finding a magpie nest on the windowsill of his studio in February 2014, calligrapher Wang Zhen and the magpie family began a wonderful companionship.

Magpie Neighbors

Wang recorded the magpie family’s lives with a set of self-made equipment, which includes a photographic camera, a video camera, and a mini microphone. The arrival of the magpies brought him a lot of inspiration. They build their nest with a well-thought design plan and make the best of materials available. They protect their offspring fearlessly, no matter what challenges and risks they face.

Wang said the magpies’ daily activities fed his aesthetic understanding and thinking about calligraphy.

His calligraphy exhibition, sponsored by the China Wildlife Conservation Association, was held at the Overseas Chinese History Museum of China in Beijing in April 2022. Through more than 110 calligraphy and photographic works, the exhibition showcased the vivid story about Wang and the magpies.

Mo Yan, a Nobel laureate in literature, said in his speech at the exhibition that Wang’s works go beyond the art of calligraphy, to tell a story of animal protection and dedicated love, which enlightens humanity.

Su Shishu, chairman of the Chinese Calligraphers Association, said that Wang is superb in the creation of Shu Style, and has gradually formed his own style. His calligraphic structure is bold and stable, exuding an air of positivity.

According to Wang, after recording the life of the magpies for a long time, he slowly discovered that there was an inextricable connection between the magpie’s movement and his calligraphy. Their movements and postures were often too wonderful for words, he said, adding that calligraphy cannot be divorced from real life and nature.

enlighten Wang’s works go beyond the art of calligraphy, to tell a story of animal protection and dedicated love, which enlightens humanity.

A Holistic Artform

Wang enjoys reciting classics in his daily life. “Fan Zhongyan’sMemorial to Yueyang Towerchanged my life,” he said, adding that he grew up listening to the story of Fan (989-1052), a prominent statesman and literary figure of the Northern Song Dynasty (960-1127).

The emotions in Fan’s poem hold a deep attraction for Wang. The classic lines, “Do not rejoice in things, do not grieve with yourself,” and “Being the first to worry about the affairs of the state and the last to enjoy oneself,” have long been engraved in his heart.

The poetry has instilled in him an admiration for Chinese classics for their linguistic mastery, rhythm, and artistic conception. Whether he is feeling happy or worried, he always enjoys reading and reciting the classics, such asThe Analects of ConfuciusandHard Roads in Sichuan. The devotion to classics has enriched his calligraphy creations.

Wang worked with the calligraphy master Shu Tong for a very long time. “Influenced by my father, my interest in calligraphy began to grow in my childhood, and after working with Shu, I had the unique advantages for learning calligraphy,” Wang said. There were a large number of calligraphy books and rubbings in Shu’s home, which he could read and use at any time. “Amazingly, listening to Shu’s words and watching his actions improved my art of calligraphy day by day,” said Wang. “There should be a writing brush in the heart,” he said, recalling what he learned from Master Shu. “Before writing, you [get to] know the appearance of the characters [needed], and then prepare the ink with confidence.”

“For a person with poor moral quality, it is useless no matter how well he writes. Grinding ink is cultivating one’s moral character,” Shu told Wang. Practicing calligraphy is the process of observing the world, and creating work is to shape personality. “Handwriting can reflect a man and his personality, and vice versa.”

Calligraphic work by Wang Zhen.

A nest of a magpie family that settled down on the windowsill of Wang Zhen’s studio.

Wang Zhen (right) and Mo Yan (left)

Calligraphic work by Wang Zhen.

Shu also taught Wang to create his own works of writings. The purpose of practicing calligraphy, reciting classics, and strengthening self-cultivation is to create works of your own. “Calligraphy without literary content is still technique, and the core value of calligraphy art is to write one’s own words and express one’s emotions,” advised Shu.

Apart from being a member of the Chinese Calligraphers Association, Wang is also president of the Beijing Shutong Culture and Art Research Association and editorin-chief ofClassic Recitation and Writing. With these platforms, he hopes to pass on his research and understanding of classics and calligraphy to more people.

Story of Poetry and Literature

“On New Year’s Day 2021, Mo Yan and I watched the sunrise in Fuyuan County, Heilongjiang Province. The temperature was minus 39 degree Celsius. I sprinked a scoop of boiling water into the air, which immediately froze into ice, Wang recalled. When the sun rose, Mo wrote the two big characters of “Xin Xi” (new sunlight) with a brush dipped in thick ink.

“Mo and I both served in the military and we lived in unique and harsh environments. Finding joy in hardship is our common hobby,” said Wang. In recent years, they have been running a WeChat social media account together, sharing content about poetry and literature.

Essence of Calligraphy

As a traditional cultural treasure, the art of calligraphy is still valued and loved by the Chinese people nowadays. Talking about his understanding of calligraphy aesthetics, Wang said that through daily practicing by copying masters’ works, people can foster affection with brush and ink, and cultivate their moral character.

“Learning calligraphy, first of all, is about inheritance, and every stroke should have a source as calligraphy is like dancing in shackles, and innovation without inheritance is worthless,” said Wang. He believes that calligraphy can be learned by everyone, and everyone who writes Chinese characters has their own aesthetic judgement. “Studying in a down-to-earth approach and finding happiness in learning is the essence and key,” said Wang.

A photographic work by calligrapher Wang Zhen. Photos courtesy of Hai Ao

Sunshine of My Life (2022)

Genres: Drama, Family

Director: Judy Chu Fung-Han

Song of Spring (2022)

Genre: Drama

Director: Yang Lina

Based on the director’s personal experiences, the film focuses on the story of a blind family. Zhu Zhixin, whose parents are both blind, is a kind young girl and has been acting as her parents’ eyes since childhood by depicting to them the shapes and colors of the world they cannot see. The teenage girl has a great talent for drawing and wants to study arts abroad. But this dream starts frequent quarrels among the family. At one point, Zhu has to make a choice between her family and her dream.

In the film, Zhu experiences an emotional transi-tion from resisting her parents and considering them as a burden in her life to seeing them as extraordinary parents. This change comes around after she found a tape saved by her mother, which answers Zhu’s ques-tion about her life. She realizes that her parents do not see her as a tool in their life, but desire to bring to her all the beauty and goodness in the world. This love of her parents allows them to reconcile and gives her a deep sense of responsibility and attachment to her family. Her optimistic and independent blind parents are Zhu’s sunshine, defining her meaning of life and illuminating her path in the world.

The film discusses the subjects of affection, memory, and death with the story of an 85-year-old mother and her 65-year-old daughter. In the film, the daughter lives with a regrettable momery about her father.

When the daughter reaches the age of 60, her life enters a complicated phase. Due to the onset of Alzheimer’s disease, her 85-year-old mother takes on the task of looking after her, creating a unique conflict and dramatic tension.

The depiction of the mother’s love in the film is like water — both strong and soft. It symbolizes the irreplaceable and respected role of a mother in supporting a family. With a poetic flow of the narrative and unflinching manner of addressing challenging topics, the film takes the audience through a story of deep and complex maternal love in the face of death, leaving many viewers in tears and bringing to mind their own stories with their mothers. Besides, the film shows the living conditions of Alzheimer’s patients, striking a chord in the group, and creating awareness among the general public regarding the difficulties faced by those suffering from Alzheimer’s.