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Chinese modern calligraphy, which has been surviving in the shadow of modern art and traditional calligraphy, has never escaped from the preset ``trilogy'' by the art circle, that is, ''pseudomodern--modern--postmodern.'' Since modern calligraphy was initiated in 1985, its founders have pushed themselves towards a preset dead end. Of course, even under such circumstances, the notion that supports their creation is still modern.'' In fact, ''modern'' here means ''pseudomodern'' in a sense of rationality. The ''pseudomodern'' has impenetrate the whole process of modern calligraphy creation in the past 10-plus years and has misled a large number of modern calligraphy learners, although it has taken on different faces in diferent periods. On the surface, Chinese calligraphy has boomed with hundreds of flowers blossoming. But, in fact, it is developing towards the bad roots of Chinese traditional culture with a strange, malformed embryo of modern art. I insist that, in art creation and research, a well-meaning criticism is more significant than senseless puffery. Under this precondition, we can have further discussions to sort out the development of and change in Chinese modern calligraphy as well as help expand the road for its future development.
As the first phase in the development of Chinese modern calligraphy, ''pseudomodern'' calligraphy has emerged since the mid- and late-80s, when, with the progress of the reform and opening-up, the trends of thought in literature and arts have been deeply influenced by Western modern art, as is characterized by the seeking of a joining point with Western modern art among China's literature and arts circles. Over here, we need to thank

the older generation of calligraphers and painters for their efforts in promoting the development of modern calligraphy. The involvement of a large number of painters like Wang Naizhuang and Gu Gan has prompted modern calligraphy towards innovation but, at the same time, attached a quality of painting to modern calligraphy. The innovation conducted rebellious criticism on the dying calligraphy creation, but also led modern calligraphy to an embarrassing situation by being ''neither calligraphy nor painting'' or ''either calligraphy or painting.'' As a result, the calligraphic pertinence of modern calligraphy has been transferred and its criticizing strength impaired. The emergence of ''pseudomodern'' calligraphy changed the dominance of traditional calligraphy but failed to become a threat to the essence of calligraphy. Representative artists of this stage are Gu Gan, Wang Naizhuang, Wang Xuezhong, Xu Futong, Gao Le, Xie Yun, Dang Yu, and Wen Bei among others. Although they do not lack in innovative artistic spirits and are well established, their understandings of modern calligraphy are simply based on the exaggeration of the shape of characters, the swelling effects of water and ink, as well as illustration through painting. The conflicts between their reliance on traditional calligraphy and their observant attitude towards modern art have resulted in the new situation of '85 modern calligraphy. It is indeed a sorrowful state in modern calligraphy history that such a pattern has spanned until today.

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Modern calligraphy came to its self-conscious stage with the the Shanghai Modern Calligraphy Exhibition in 1991 and the first and second exhibitions of calligraphism that followed. For the first time in modern calligraphy theory, the concept that ''modern calligraphy'' was ''non-calligraphy'', ''anti-calligraphy'' and ''destruction of calligraphy'' was raised. In the face of various arraignments, Wang Nanming for the first time cried out his appeal for establishing artistic forms in a new modern calligraphy order and experienced what he advocated in new possiblities of modern calligraphy, as were reflected in his modern calligraphy work ''Combination: Balls of Characters" and his book ''Understand Modern Calligraphy.'' Since the 90s, endless discussions have been conducted about modern art and postmodern art surrounding a series of modern calligraphy exhibitions, but the substantial problems of modern calligraphy have always been deviated from, leading to the fact that modern calligraphy has not been formerly ''registered'' and the progress of modern calligraphy has been affected. During this period, there were relatively more concern over and discussions about ''calligraphism'' which is actually an extension of conception and an expedient measure that has little practical significance. When ''calligraphism'' made history and ended its role, modern calligraphy has turned into ''modern'' in a real sense. Meanwhile, the publishing of Zhang Qiang's book ''A Comprehensive Review of Modern Calligraphy'' marked the establishment of modern calligraphy theory. Representative artists in modern calligraphy during this period included Shao Yan, Bai Di, Qiu Zhenzhong, Yan Binghui, and Zhang Qiang. Although their styles vary, their understandings of modern calligraphy are all on a rational basis, which has made it possible to build up the basic appearance of modern calligraphy.

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Modern calligraphy has developed until today while the economy, society and culture expands. All types of modern art have equal dialogues under the global cultural background. The economy and culture of the East and the West collide; and the modern society changes rapidly. People today are used to viewing rapidly developments with open minds. Under this circumstance, it seems that it is possible for postmodern art to get established in the development of Chinese art. But, the fact is, the birth of postmodern art is no more than the first light of the morning, which also shined in the exhibition '99 Chengdu Retrospective of Chinese Modern Calligraphy at the End of the Century. In the exhibit, the features of postmodern art such as individual languages, pursuit of fun, non-center state, uncertainty flashed distinctively in Zhang Dawo's ''Dawo Black and White Miaomo'', Zhang Nan's ''Feeling Series'', Wei Ligang's ''Wei's Magic Cubes'', and the works of Bu Lieping, Xu Zhongping, Wu Wei, Ma Xiao amd Chang Jiang. Needless to say, this is a thread of hope among the regrets in the history of Chinese modern calligraphy in the past 10-plus years.
Standing on the border area of a cross-century moment, what can be seen is only an existence, no matter if you are looking up or looking down. Anything happening or that has happened will become part of history. Let us envisage the reality, look into the future and show concern to the development of modern calligraphy. Finally, best wishes for a bright future for modern calligraphy.

(Zhang Nan, a modern calligrapher and art critic, is now the editor-in-chief of the Lanzhou-based newspaper Contemporary Calligraphers and Painters.)

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