Contest nurtures calligraphy

IF you never try to play a piano, you are never going to know you will be brilliant. If you never take up a brush, you will never become a master calligrapher.

This simple philosophy is behind New York art collector and psychiatrist Jill Sackler's desire to continue sponsoring a national contest of Chinese calligraphy in the birthplace of this art, since 1990.

The Jill Sackler Chinese Calligraphy Contest/Exhibition is organized by the China International Cultural Exchange Centre and the China Association for Promotion of Cultural Exchange and Co-operation (CAPCEC). It aims to raise the interest in the traditional art of the brush, which is being threatened by the increasing use of pen, pencil and computer in China today.

Participants are mainly emerging calligraphers of different age groups. The popular calligraphy competition was held for the fourth time this year, following earlier contests in 1990, 1992, and 1997. Prize-winning works in this year's contest are on exhibition at the China National Art Museum from August 28 to September 2.

In 1994 and 1996, some prize-winning works of earlier contests were exhibited in the famous Arthur M. Sackler Gallery in Washington D. C., which is basically the national museum of Asian art in the United States, and the China Institute Gallery in New York.

"It's such a sophisticated and noble art. You will never reach the level of perfection if you do not want (to practise)," Sackler said in an interview following the opening of the exhibition in Beijing.

She, however, accepts that it's difficult for the majority of Westerners to get the full effect of a calligraphic work when they view it. "There are so many extra layers to it. Most westerners like me just appreciate the aesthetic pleasure," she says.

Her interest in Chinese fine arts was inspired by her late husband Arthur M. Sackler (1913-1987), who was also an internationally renowned collector of Chinese art.

She thanked the efforts of Chinese judges and organizers who have helped her make the project successful and influential.

Sackler says she is glad to see the contest has been effective in helping stimulate the interest in Chinese calligraphy both in China and the United States.

"Interest is definitely growing," says Sackler who has visited China frequently since the early 1980s, almost once a year. She is able to witness the growth in popularity of Chinese calligraphy following the disastrous "cultural revolution" (1966-76).

"This year, more than 7,000 people entered the competition with over 170 winning prizes. The ages of entrants range from 4 to 92," says CAPCEC deputy secretary-general Huang Jingping.

The contest also attracted accomplished Japanese calligraphers, such as Manno Syoukin, in addition to entrants from the China's mainland, Taiwan and Hong Kong, as well as from the United States and France, according to Huang.

Most winners in the contest, judged by a committee of accomplished Chinese calligraphers, are highly promising.

Li Youlai, 30, won second prize in the third Sackler calligraphy contest two years ago. He is one of the first prize winners this year.

"I can feel my progress in my artistic creation and my interpretation of the culture of Chinese calligraphy," Li Youlai says.

The Beijing-based artist has recently been accepted as a member of the Chinese Calligraphers' Association, receiving increasing nationwide recognition.

According to Curtis C. Cutter, consultant to Arthur M. Sackler (AMS) Foundation and managing director of IMS ChinaMetric Ltd, many people in the United States, especially Asian Americans, appreciate the abstract presentation of calligraphy or take it as a means of re-inforcing their cultural identity.

"I was in the Sackler Gallery almost everyday when the exhibitions of earlier award-winning works were on show. More than 30,000 people visited the exhibit in 1996. Most of them were westerners or Asian Americans. It's really impressive," recalls Cutter.

According to Sackler, the idea to sponsor a contest of Chinese calligraphy was initiated by her husband, who "loved Chinese culture so much." She says he believed the brush art of Chinese calligraphy was the basis of various Chinese arts and should develop rather than wither.

"My inspiration mainly came from my husband," says Sackler, who developed an avid interest in Chinese art. "He was a great expert in Chinese art. He proposed the idea but was unable to see it realize."

Arthur M. Sackler's name is related to many important art and medical facilities because of his generous support and that of the AMS Foundation he established, which has Jill Sackler as president.

The Arthur M. Sackler Gallery in Washington D.C, is an important part of the Smithsonian Institute. The Sackler galleries of the Metropolitan Museum of Art in New York; the Arthur M. Sackler Museum of Harvard University Art Museums; and the Sackler Museum of Art and Archaeology of Beijing University are just some of the art facilities that have benefited from him.

The New-York born collector, psychiatrist, publisher and medical researcher was an old friend of China throughout his life and inspired his wife to continue his cause.

During World War II, he raised funds in the United States to help Dr Norman Bethune come to China to help in the War of Resistance against Japan.

In 1980, he bought a chair of Emperor Qianlong of the Qing Dynasty (1644-1911) for US$100,000 at an auction and donated it to the Palace Museum in Beijing.

In 1982, he donated 1,000 works from his personal art collection, mostly valuable Chinese jades, bronzes, calligraphy and paintings to the Smithsonian. He also donated US$4 million for the construction of the Sackler Gallery which was completed in the year of his death. The art museum is well known for its huge collection and influential exhibits of Chinese art.

In 1985, he provided funding for Beijing University to establish its museum of art and archaeology, which is the first established in a major Chinese university.

In response to concern from some viewers that the Jill Sackler Chinese Calligraphy Contest/Exhibition should stress more of the artistic quality of works selected, Sackler says "it looks wonderful, but the fact is it is just a competition."

"As I understand, the contest is welcomed because it greatly stimulates the interest of the mass of people. Of course, we had a special section at the beginning of the exhibition, which represents the highest artistic level of Chinese calligraphy. Many of the works are by masters."

"I want the calligraphy contest to continue, anyway," says Sackler. "I have always found cultural events work very well."

Sackler adds she has found no real obstacles or problems during the cultural exchange with the Chinese side, which is highly devoted and co-operative.

Asked if she has plans to sponsor other types of Chinese art, especially cutting-edge contemporary art, Sackler says "I am open, although Sackler art mainly focuses on ancient and traditional Chinese art.''

"Of course we want to be involved in other parts of culture. We really will consider it if there are good suggestions."

Date: 09/01/1999
Author: Yang Yingshi
Copyright? by China Daily

| Events | People | Reviews | Others | dddd